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Copyrights
Originality of material
The concept of originality is fundamental in copyright law across the
world. It serves as a yardstick to evaluate whether a particular work is
eligible for copyright protection. Let’s delve into the nuances of
originality:
1. Definition of Originality:
In civil law countries, “originality” refers to an author’s own intellectual
creation. It signifies that the work must stem from the author’s
independent thought and not be influenced by external factors.
The Indian Copyright Act of 1957, in Section 13(1), states that copyright
subsists in “original literary, dramatic, musical, and artistic works.”
However, the Act does not provide a precise definition or test for
determining originality.
2. Tests for Originality:
Non-Copying Requirement (Completely Objective Test):
• This test focuses on whether the work is independently
created by the author, without directly copying from another
work.
• It emphasizes the absence of direct copying.
Threshold/Degree of Originality (Varies from Court to Court):
• Courts assess the level of creativity or originality required for
a work to qualify for copyright protection.
• The threshold varies, but it generally demands more than
mere triviality or minimal variation from existing works.
3.Di erent Doctrines in Various Jurisdictions:
UK’s Sweat of the Brow Doctrine:
The UK case of Walter v Lane established this doctrine.
• This doctrine emphasizes the diligence and e ort put into
creating a work.
• It de-emphasizes the need for “creativity.”
4. Application in India:
India follows the sweat of the brow doctrine, emphasizing the
author’s e ort and labor. In summary, originality ensures that a
work is not a mere copy and reflects the author’s intellectual
creation. While the specifics may vary across jurisdictions, the
core principle remains consistent: creativity and independent
thought underpin copyright protection
Right of reproduction
Right of reproduction is the most basic of the rights under the
umbrella of copyright and is available to all the works that are
subject to copyright protection.
2. Di culty in Tracking:
In the digital age, it can be di cult to track the use of copyrighted materials.
Once a digital copy is released online, it can be downloaded and shared
countless times, making it almost impossible to know who is using the
material and for what purpose.
3. Complex Ownership:
In the digital age, ownership of copyrighted materials can be di cult to
establish. With the ease of reproduction and distribution, it can be hard to
determine who the original owner of a particular work is, or who has the
right to distribute it.
6. Fair Use:
The concept of fair use allows limited use of copyrighted materials without obtaining
permission from the copyright owner. However, determining what constitutes fair use can be a
complex and subjective process, which can make it di cult to enforce copyright laws.
7. User-Generated Content:
With the rise of social media and other user-generated content platforms, it has become easier
than ever for individuals to create and share their own content. However, this can also make it
di cult to determine who owns the copyright to a particular work, and to enforce copyright
laws.
8. Emerging Technologies:
The digital age is constantly evolving, and new technologies such as artificial intelligence and
blockchain are changing the way that content is created, distributed, and consumed. Keeping up
with these emerging technologies and their potential impact on copyright protection can be a
challenge.
Even though the copyright notice is no longer required, it should still be placed
on all published works. Use of the notice is recommended for the following
reasons:
• it informs the public that the work is protected by copyright (and thereby helps
to scare aware potential infringers);
• it prevents a party from claiming the status of "innocent infringer," which may
allow a party to escape certain damages under the Copyright Act; and
• it identifies the copyright owner and the year of first publication (so that third
parties will know who to contact to request a license to the work).
There is no need to register the work with the Copyright O ce or to seek any
other kind of permission before using the copyright notice.
International copyright law
• International copyright law just does not exist! The scope and
application of copyright law are both territorial and regional. The
country's national laws will determine how to protect against illegal
use of work there.
• A number of international copyright treaties and conventions have
made the procedure of providing protection to foreign copyright
holders significantly simpler. This has given content producers and
owners worldwide exclusive rights to use their works.
• Due to international conventions and agreements (primarily the Berne
Convention), which provide a common framework that national
legislation must follow to ensure countries respect the rights of
foreign authors, the fundamental rights are the same in the majority
of countries even though the specifics of their national laws may vary.
• This indicates that copyright safeguards your creation automatically
on a global scale.
Principle Conventions and Agreements
The Berne Convention
• Persons who are not citizens but who have their habitual
abode in a country of the Union will be treated as citizens for
the purposes of the Convention.
TRIPS
TRIPS, also known as the Agreement on Trade-Related Aspects
of Intellectual Property Rights, is a pact that all of the World
Trade Organization's members have signed (WTO).
Any work that fits the definitions of music, art, theater, film,
photography, or sound recordings is protected by copyright. It
is necessary for the work being copied righted to be original,
but originality of thinking or idea is not a requirement. Just
being original in one's intellectual expression is what the law is
all about.
Conclusion