Cover -- Half-title -- Series-title -- Title -- Copyright -- Dedication -- Contents -- Acknowledgments -- Abbreviations -- Introduction -- 1 Placing multimedia products within the scope of copyright -- 1.1 GENERAL INTRODUCTORY COMMENTS -- 1.2 HISTORY OF COPYRIGHT AND REDEFINITION OF THE TERM -- 1.3 THE CHOICE BETWEEN PATENT AND COPYRIGHT PROTECTION -- 1.4 NOTIONS RELATING TO MULTIMEDIA -- 2 The scope of multimedia works -- 2.1 DEFINITION OF MULTIMEDIA WORKS -- 2.1.1 Definition -- 2.1.2 Digitisation -- 2.1.2.1 General observations -- 2.1.2.2 Special features of digitisation -- 2.1.3 Combination and integration of various forms of expression -- 2.1.4 Interactivity -- 2.2 LAYERS OF PROTECTION -- 2.3 PROJECT PARTICIPANTS IN THE CREATION OF A MULTIMEDIA PRODUCT -- 2.4 THE DIFFERENCES BETWEEN MULTIMEDIA PRODUCTS AND EXISTING COPYRIGHT WORKS -- 2.4.1 Combination of different forms of communication -- 2.4.2 A single material support -- 2.4.3 Originality -- 2.4.4 Computer-based product or service -- 2.4.5 Combination of information technology and communications technology -- 2.4.6 Fixation -- 2.4.7 Ease of manipulation and copying -- 3 Traditional literary works -- 3.1 LITERARY WORKS AS WORKS OF LANGUAGE -- 3.1.1 The concepts of 'language' and 'words' -- 3.1.2 Natural or artificial language? -- 3.2 DEPURIFICATION OF COPYRIGHT -- 3.2.1 Computer programs -- 3.2.2 Compilations -- 3.2.3 Databases -- 3.2.4 An overall perspective -- 3.2.5 Originality at common law as compared to its droit d'auteur counterpart -- 3.2.6 Convergence of the two systems -- 3.2.6.1 Examples of convergence in common law jurisdictions -- 3.2.6.1.1 USA -- 3.2.6.1.2 The UK -- 3.2.6.2 Examples of convergence in continental law jurisdictions -- 3.2.6.2.1 The droit d'auteur tradition -- 3.3 FIXATION OF LITERARY WORKS -- 3.4 MULTIMEDIA PRODUCTS AND TRADITIONAL LITERARY WORKS.

4 Collections and compilations -- 4.1 TRADITIONAL APPROACHES TO COLLECTIONS AND COMPILATIONS -- 4.1.1 The Berne Convention -- 4.1.2 Greece -- 4.1.3 Germany -- 4.1.4 USA -- 4.1.5 France -- 4.1.6 The UK -- 4.1.7 Belgium -- 4.2 THE NOTION OF WORKS AS COMPONENTS OF A COMPILATION -- 4.3 THE BOND BETWEEN LITERARY WORKS, COMPILATIONS AND MULTIMEDIA WORKS -- 4.3.1 Differences between traditional literary works and compilations -- 4.3.2 Multimedia products and compilations -- 4.3.2.1 'Productions' -- 4.3.2.2 Analogue and digital environments -- 4.3.2.3 Manipulation of content in multimedia products -- 4.3.2.4 Integration of works in multimedia products -- 4.3.2.5 Redefinition of the written format of a work -- 4.3.2.6 Functions of traditional compilations and multimedia works -- 4.3.2.7 The limits of interactivity -- 5 Databases -- 5.1 THE DATABASE FRAMEWORK -- 5.1.1 'Independent' contents -- 5.1.2 'Individually accessible' contents -- 5.1.3 Systematic and methodical arrangement of contents -- 5.2 BEYOND COPYRIGHT -- 5.3 MULTIMEDIA PRODUCTS AS DATABASES -- 5.3.1 Interactivity versus 'individually accessible' contents -- 5.3.2 Multimedia products containing 'individually accessible' contents or contents which are both 'individually accessible'… -- 5.3.3 Conjunctively retrieved contents in multimedia products -- 5.3.4 The compilation alternative -- 6 Audiovisual works -- 6.1 'AUDIOVISUAL WORKS' AS A GENERIC TERM -- 6.1.1 Audiovisual works -- 6.1.2 Cinematographic works -- 6.1.3 Films -- 6.2 COMPOSITE CHARACTERISTICS OF AUDIOVISUAL WORKS -- 6.2.1 The meaning of 'images' -- 6.2.2 The requirement of '(sequences of) moving images' -- 6.2.3 Fixation -- 6.2.4 The intention to show audiovisual works to the public -- 6.2.5 Concluding remarks -- 6.3 A COMPARISON BETWEEN AUDIOVISUAL WORKS AND LITERARY WORKS, COMPILATIONS, DATABASES AND COMPUTER PROGRAMS.

6.4 DISTINCTIVE FEATURES OF THE REGIME OF PROTECTION OF AUDIOVISUAL WORKS -- 6.4.1 Originality -- 6.4.2 Authorship -- 6.4.3 Works of joint authorship, collective works, etc. -- 6.4.4 Cessio legis in favour of the producer -- 6.4.5 A modified regime on moral rights -- 6.4.6 A full panoply of rights -- 6.4.7 Term of protection -- 6.5 MULTIMEDIA WORKS AS AUDIOVISUAL WORKS -- 6.5.1 Multimedia works as de iure audiovisual works -- 6.5.1.1 Complex works -- 6.5.1.2 'Image' as a prevailing element -- 6.5.1.3 'Sequence of moving images' and interactivity -- 6.5.1.3.1 A de minimis rule -- 6.5.1.3.2 Two ways of construing the notion of 'moving images' -- 6.5.1.3.3 'Sequence of moving images' and interactivity -- 6.5.1.3.4 Concluding remarks -- 6.5.1.4 Fixation/recording -- 6.5.2 The possibility of cumulative protection -- 6.5.3 Summing up -- 6.6 MULTIMEDIA PRODUCTS AND THE REGIME OF PROTECTION OF AUDIOVISUAL WORKS -- 7 Computer programs -- 7.1 A MULTIMEDIA WORK AS A COMPUTER PROGRAM -- 7.2 MULTIMEDIA WORKS AND THE REGIME OF PROTECTION FOR COMPUTER PROGRAMS -- 7.2.1 The 'reverse engineering' exception -- 7.2.2 The right to make back-up copies and slight adaptations and to correct errors -- 7.2.3 The status of the employee -- 7.2.4 A modified regime of moral rights -- 7.3 SUMMING UP -- 8 Video games as a test case -- 8.1 VIDEO GAMES AS MULTIMEDIA WORKS -- 8.2 THE CASE-LAW ON VIDEO GAMES -- 8.2.1 Lack of protection for video games -- 8.2.1.1 Absence of fixation -- 8.2.1.2 Absence of originality -- 8.2.2 Protection as computer programs -- 8.2.3 Protection as computer programs and audiovisual works -- 8.2.4 The current position -- 8.3 VIDEO GAMES AS A MODEL FOR OTHER MULTIMEDIA WORKS -- 8.3.1 Combination of different types of elements -- 8.3.1.1 'Image' as a prevailing element -- 8.3.1.2 Combination of different types of elements rather than different kinds of works.

8.3.2 The degree of interactivity -- 8.3.3 A comparison between video games and other multimedia works -- 8.4 CONCLUSIONS -- 9 Multimedia products and existing categories of copyright works -- 9.1 ORIGINALITY AND QUALIFICATION FOR COPYRIGHT PROTECTION -- 9.1.1 Guidance in the Berne Convention -- 9.1.2 A first approach -- 9.1.3 A second approach -- 9.1.4 Problems rising from these approaches -- 9.1.5 Possible solutions -- 9.1.6 Summing up -- 9.2 QUALIFICATION OF MULTIMEDIA WORKS ACCORDING TO THE TYPE OF CO-OPERATION OF THE CONTRIBUTORS (THE FRENCH PARADIGM) -- 9.2.1 Introduction -- 9.2.2 Multimedia products and collaborative works -- 9.2.3 Multimedia products and composite works -- 9.2.4 Multimedia products and collective works -- 9.2.5 Conclusions -- 9.3 QUALIFICATION OF MULTIMEDIA WORKS ACCORDING TO THEIR NATURE -- 9.4 A HYBRID PRODUCT IN NEED OF A SUI GENERIS COPYRIGHT CLASSIFICATION -- 10 A regime of protection for multimedia products -- 10.1 A COPYRIGHT REGIME FOR MULTIMEDIA PRODUCTS -- 10.1.1 Originality in relation to the contents of the multimedia work rather than the selection and arrangement of its… -- 10.1.2 Exclusive economic rights of authors and their exceptions -- 10.1.2.1 Economic rights -- 10.1.2.2 Exceptions to economic rights -- 10.1.3 Authorship/ownership -- 10.1.3.1 Alternative approaches -- 10.1.3.2 A harmonised approach for the new category of multimedia works -- 10.1.4 Moral rights protection -- 10.1.4.1 Existing regimes of moral rights protection -- 10.1.4.1.1 The UK approach -- 10.1.4.1.2 The French approach -- 10.1.4.2 Towards a harmonised approach to moral rights -- 10.1.4.2.1 Moral rights at the production stage of multimedia works -- 10.1.4.2.2 Moral rights after the completion of the multimedia work -- 10.1.4.2.2.1 The rights of divulgation, withdrawl and access to the work -- 10.1.4.2.2.2 The right of paternity.

10.1.4.2.2.3 The right of integrity -- 10.1.4.2.3 An important restriction in relation to moral rights -- 10.1.4.3 Conclusion -- 10.1.5 Technical devices -- 10.1.5.1 Technical devices against piracy -- 10.1.5.2 Technical devices for the administration and clearance of rights -- 10.1.5.3 The overall position -- 10.1.6 Term of protection -- 10.2 A 'DATABASE-STYLE' SUI GENERIS REGIME OF PROTECTION FOR MULTIMEDIA PRODUCTS -- 10.2.1 Deficiencies of copyright-only model -- 10.2.2 The difference between databases and multimedia products -- 10.2.3 A sui generis regime of protection for multimedia products -- 10.2.4 Final considerations -- 10.3 COLLECTIVE ADMINISTRATION AND UNFAIR COMPETITION LAW -- 10.3.1 Administration of rights -- 10.3.1.1 Individual administration v. collective administration -- 10.3.1.1.1 In an analogue environment -- 10.3.1.1.2 In a digital environment -- 10.3.1.2 Collective administration v. central administration -- 10.3.2 Unfair competition law considerations -- 10.3.2.1 Abuses by dominant copyright management societies -- 10.3.2.2 Copyright in small amounts of information -- 10.3.3 Conclusion -- 11 Conclusions -- 11.1 A REGIME OF PROTECTION FOR MULTIMEDIA PRODUCTS: A MIXTURE OF THE REGIME FOR FILMS AND THE SUI GENERIS RIGHT FOR… -- 11.2 WIDER IMPLICATIONS FOR COPYRIGHT -- Postscript -- Bibliography -- Index.