UK COPYRIGHT LAW

Does UK Copyright Law Provide An Adequate Balance Between The Needs Of Right Holders And Users In Relation To Dramatic Works

SUMMARY

This outline will explain the basis of copyright law in the UK, and how it protects authors and performers. The contention that all types of work and performances protected will be considered and an evaluation will be made as to the accuracy of this statement. The basis of the major exceptions to copyright law in the UK will be explained and evaluated. Then there will be analysis and discussion as to whether or not the benefits enjoyed by users may be described as deriving from only a few narrow exceptions. Does UK copyright law actually provide an adequate balance between the needs of right holders and users in relation to dramatic works or not.

Table of Contents

List of Abbreviations5

CHAPTER 1: INTRODUCTION6

1.1 Background of the Study6

1.2 Problem Statement7

1.3 Rationale of the Study7

1.4 Research Aims & Objectives7

1.5 Significance of the Study7

1.6 Ethical Considerations8

CHAPTER 2: LITERATURE REVIEW9

2.1 UK Copyright Law9

2.1.1 Copyright Covers the Expression of an Idea but Not the Idea Itself9

2.1.2 Who Owns Copyright?10

2.1.3 So when do works become copyright free?10

2.1.4 Is copyright international?11

2.2 Types of Work Covered By UK Copyright Law11

2.2.1 Literary11

2.2.2 Dramatic11

2.2.3 Musical12

2.2.4 Artistic12

2.2.5 Typographical arrangement of published editions12

2.2.6 Sound Recording12

2.2.7 Films12

2.2.8 Can modern works be in the public domain?12

2.3 Dramatic Works13

2.3.1 Concept of Copyright Law in the Dramatic Works13

2.3.2 Fair Use of Copyrights Works in the Dramatic Works13

2.3.3 Collective Management of Copyright and Related Rights in Dramatic Works13

2.3.4 Technological Protection Measures for Dramatic Works: A Legal Analysis13

2.3.5 Subject Matter and Scope of Copyright Protection13

2.3.6 Exceptions and Limitations to Copyright in the Dramatic Works13

2.4 Legal Framework for Copyright and Related Rights Protection13

2.4.1 Exclusive Rights for Copyright and Related Rights Holders13

2.4.2 Limitations and Exceptions to Copyright and Related Rights13

2.4.3 Multilateral Agreements on Copyright and Related Rights13

2.4.4 The Berne Convention13

2.4.5 The Universal Copyright Convention13

2.4.6 The Rome Convention13

2.4.7 The Satellites Convention13

2.4.8 The TRIPS Agreement14

2.4.9 The WIPO Copyright Treaty (WCT) and the WIPO Phonograms and Performances Treaty (WPPT)14

CHAPTER 3 METHODOLOGY15

3.1 Research Method15

3.2 Research Design15

3.3 Literature Search15

3.4 Key Terms15

Chapter 4 ANALYSIS AND DISCUSSION16

4.1 Rights available to the Copyright Owners16

4.2 The Needs of Right Holders in relation to Dramatic Works16

4.3 The Needs of Users in relation to Dramatic Works16

4.4 Comparison with different Works under Copyright Law16

4.5 Infringement of Copyrights in the Dramatic Works16

Chapter 5 CONCLUSION17

5.1 Conclusion17

5.2 Recommendations17

5.3 Future Aspects17

References18

List of Abbreviations

EU - Europeon Union

TRIPS - Trade-Related Aspects of Intellectual Property Rights

WTO - World Trade Organization

WIPO - World Intellectual Property Organization

CHAPTER 1: INTRODUCTION

1.1 Background of the Study

Since the Statute of Anne 1709 the concept of copyright had existed within UK common law and it eventually received statutory legal status when the Copyright Act 1911  passed by Parliament. At the time of writing the current Act covering copyright are the Copyright, Designs & Patents Act 1988. Current law gives the creators of artistic works, computer programs, dramatic works, literary works, musical works, sound recordings, broadcasts, films, videos, typographical publications etc. rights to control how their work may be ...