Cover -- Half-title -- Series-title -- Title -- Copyright -- Contents -- Foreword -- Preface -- Acknowledgments -- Abbreviations -- 1 Introduction -- 1. The audiovisual industry and film protection in the information age -- 2. International tensions over film copyright -- 3. European harmonisation of copyright -- 4. The impact of new technologies -- 5. The structure of this book -- 2 The history of film protection in Europe -- 6. The birth of an industry -- SECTION I Early stages of copyright protection (1896-1908) -- 7. Questions raised by 'photo-plays' and 'cinematograph films' -- PART I National legislation before the Berlin Conference -- 8. Films as series of photographs or dramatic works -- 9. Early protection in the UK -- 10. Early protection in France and countries influenced by French law -- 11. Germany and countries influenced by German law -- 12. Scandinavian countries -- PART II The Berlin Conference of the Berne Convention -- 13. The Berne Convention -- SECTION II The modern period: separation between copyright and authors' rights countries (1908-1992) -- 14. The separation of copyright and authors' rights approaches -- PART I The evolution of film protection in copyright systems -- 15. Film protection under the UK 1911 Act: indirect protection as a series of photographs and as dramatic work -- 16. Articulation of the two protections -- 17. The subject-matter of protection under the heading of dramatic work: the distinction between script and final… -- 18. The difficult question of film authorship under the 1911 Act -- 19. The influence of new technologies -- 20. Infringement of films under the 1911 Act -- 21. Influence of the 1911 Act -- 22. The 1956 Act: a specific subject-matter for film protection -- 23. Infringement of films under the 1956 Act -- 24. The 1988 Act: continuation or departure from the 1956 Act?.

25. A protection of audiovisual works as dramatic works under the 1988 Act -- 26. The situation in Ireland -- PART II The evolution of film in authors' rights systems -- 27. Overview -- 28. The evolution of film protection in France -- 29. The French Law of 11 March 1957 -- 30. The French Act of 3 July 1985 and the new Intellectual Property Code -- 31. Legislation influenced by French law -- 32. The specifics of Italian copyright -- 33. The Italian Act of 22 April 1941 -- 34. The evolution of German film copyright -- 35. The German Act of 9 September 1965 -- 36. Austria -- 37. The Netherlands -- 38. Scandinavian countries -- 39. Other European countries -- SECTION III Towards European harmonisation (1992 to the present) -- 40. The European harmonisation of copyright -- 41. The Rental Directive of 19 November 1992 -- 42. The Satellite and Cable Directive of 27 September 1993 -- 43. The Term Directive of 29 October 1993 -- 44. The Directive on Copyright and Related Rights in the Information Society of 22 May 2001 -- 45. National implementations of the EC copyright directives -- 46. Further harmonisation -- 3 Subsistence of copyright -- 47. Introduction -- SECTION I The subject-matter for protection -- 48. The determination of the subject-matter for film protection -- 49. Definition of the subject-matter for protection at the international and regional levels -- 50. The requirement of a double protection under the EC copyright directives -- 51. Structure -- PART I The audiovisual or cinematographic work -- 52. Direct versus indirect protection -- The situation in the United Kingdom and Ireland -- 53. The law in the UK: a protection through the audiovisual recording (the 'film') -- 54. An additional protection as dramatic work -- 55. Films as dramatic works: the question before Norowzian -- 56. The Norowzian case.

57. What films are protected as dramatic works? -- 58. The requirement of fixation -- 59. The situation in Ireland -- The audiovisual work in authors' rights countries -- 60. The main subject-matter for film protection -- 61. National definitions -- 62. The originality criterion -- 63. The absence of a requirement of fixation -- Audiovisual works and borderline works -- 64. Introduction -- 65. Multimedia works and videogames -- 66. Altered or remastered films -- 67. The protection of television formats -- 68. Copyright protection of formats -- 69. Misappropriation of formats and unfair competition -- PART II The audiovisual recording -- 70. Presentation -- 71. The problem raised by the double protection of audiovisual works -- 72. The neighbouring right of film producers in the EC copyright directives -- 73. The videogram in domestic laws -- The 'film' under UK copyright -- 74. The definition of the 'film' under the 1988 Act -- 75. Range of works covered by the definition -- 76. Multimedia works -- 77. The protection of film frames -- 78. The difficult question of film soundtracks -- 79. The absence of the originality criterion -- 80. Originality and the question of derivative films -- 81. The 'film' under the Irish Copyright and Related Rights Act 2000 -- The videogram in authors' rights countries -- 82. Introduction -- 83. National definitions of the right of the film producer -- PART III The protection of contributory works -- 84. Main underlying works in film production -- 85. Characters -- 86. Titles -- PART IV Broadcasts and cable programmes -- 87. Introduction -- 88. The Rome Convention of 1961 -- 89. The TRIPs Agreement -- 90. The Brussels Convention of 1974 -- 91. Council of Europe -- 92. Protection of broadcasts and cable programmes in the EC copyright directives -- 93. Protection at the national level -- 94. Protection in the UK.

95. New technologies and services -- Digital broadcasting -- Wireless video-on-demand -- Wireless two-ways and interactive systems -- Video-on-demand and on-line delivery of films -- Transmissions over digital networks -- 96. The protection in Ireland -- 97. Protection in authors' rights countries -- PART V Protection as a database? -- 98. The EC Directive of 11 March 1996 and films -- SECTION II The term of copyright protection -- 99. The extended duration for audiovisual works -- 100. Implementation in the UK -- 101. Other national implementations -- 102. The problem of war extensions -- 103. Revived and extended rights -- 104. Ownership of revived copyright -- 105. Use during the time the work was in the public domain -- 106. Ownership and exercise of extended rights -- 4 Authorship and initial ownership -- 107. Authorship, ownership and authorial rights -- 108. Authorship of films in the Berne Convention -- 109. The dichotomy between copyright and authors' rights systems -- 110. Determination of film co-authors -- 111. The EC copyright directives -- 112. Domestic laws -- SECTION I Authorship of audiovisual works in the United Kingdom and Ireland -- 113. The specifics of UK copyright -- PART I The author of the 'film' -- 114. Entrepreneurial authorship of films under the UK 1956 Act -- 115. The author of a film made before 1 July 1994 -- 116. The definition of the film producer -- 117. Who is author in the absence of a producer? -- 118. The author of the film made on or after 1 July 1994 -- 119. The author of the film in Ireland -- PART II The author of the audiovisual dramatic work -- 120. Cases of creative authorship of films under UK copyright law -- 121. Authorship and initial ownership: the relevance of authorship entitlement -- 122. The determination of authorship and ownership under the relevant copyright rules.

123. Evaluation of potential claims to co-authorship in audiovisual works -- 124. The producer as creative author? -- 125. The director as author -- 126. Screenwriters as joint authors -- 127. The musical composer -- 128. The editor -- 129. The director of photography -- 130. The art director and related contributors -- 131. The main performers -- 132. Technicians -- 133. Conclusion: the co-authors of dramatic audiovisual works under joint authorship rules -- 134. The regime of joint works under UK copyright law -- SECTION II Authorship of audiovisual works in authors' rights countries -- 135. Historical development: the difficult road to creative authorship -- 136. The rise of the film director -- 137. Countries without a statutory list of co-authors -- 138. Countries with a statutory list of co-authors -- 139. The case of Luxembourg: the film producer as 'author' -- SECTION II Initial ownership -- 140. Introduction -- PART I Ownership of rights in audiovisual works -- 141. International agreements and EC directives -- 142. The law in the UK and Ireland -- 143. The law in authors' rights countries -- PART II Ownership of underlying rights -- 144. Should the film producers be the initial owners of underlying rights? -- 145. International agreements and EC directives -- 146. The law in the UK and Ireland -- 147. The law in authors' rights countries -- 5 Copyright transfers and authorial rights -- 148. Introduction -- SECTION I Copyright transfers -- 149. Scope of the study -- 150. A limited European harmonisation -- 151. The existence of specific regimes for copyright and film production agreements -- 152. The transmissibility of copyright: assignments and licences -- 153. Transferability of copyright interest to a third party -- 154. Divisibility of copyright -- 155. Limitation in time -- 156. Writing requirements.

157. Registration/priority of transfers.