Chapter-1
Performer’s rights: new dimension of copyright laws
INTRODUCTION
Performer’s rights with respect to cinematographic films have always been an area of dispute, this is because the producer is considered as the owner of such work and he can exploit the work for his economic advantage. A cinematographic film consists of a different rights associated to it and producer is considered as the holder of the bundle of rights only because he takes the initiative, like in a company’s case a promoter. There is no copy right protectable act from the part of producer, like no expression of ideas but he holds together different copy right protectable rights of different …show more content…
OBJECTIVES
To study performers right with respect to cinematographic films in UK, USA and France.
To check whether performers right granted with respect to cinematographic and sound recording are capable of economic significance to performers.
To know limits to which performers rights can be exercised.
To study the importance of neighbouring rights in cinematographic film.
To compare performer right in a cinematographic film with performer right in sound recording.
To study whether giving performer rights take away the rights of producer, if so the extent to which it’s hampered.
RESEARCH QUESTION
What are the restrictions as to performers’ rights in cinematographic films?
Whether all rights of a performer can be taken away by a contract of the …show more content…
Technological measures to circumvent access and copying are disapproved. The entire process of scrutinizing and streamlining are done by the state librarian of the congress and the office initiates the process of determining reasonable terms and rates of royalty payment by the parties, in case they are not able to reach a conclusion they conveys a copyright arbitration panel. The rates are decided by the panel after considering fair market
Performer’s rights: new dimension of copyright laws
INTRODUCTION
Performer’s rights with respect to cinematographic films have always been an area of dispute, this is because the producer is considered as the owner of such work and he can exploit the work for his economic advantage. A cinematographic film consists of a different rights associated to it and producer is considered as the holder of the bundle of rights only because he takes the initiative, like in a company’s case a promoter. There is no copy right protectable act from the part of producer, like no expression of ideas but he holds together different copy right protectable rights of different …show more content…
OBJECTIVES
To study performers right with respect to cinematographic films in UK, USA and France.
To check whether performers right granted with respect to cinematographic and sound recording are capable of economic significance to performers.
To know limits to which performers rights can be exercised.
To study the importance of neighbouring rights in cinematographic film.
To compare performer right in a cinematographic film with performer right in sound recording.
To study whether giving performer rights take away the rights of producer, if so the extent to which it’s hampered.
RESEARCH QUESTION
What are the restrictions as to performers’ rights in cinematographic films?
Whether all rights of a performer can be taken away by a contract of the …show more content…
Technological measures to circumvent access and copying are disapproved. The entire process of scrutinizing and streamlining are done by the state librarian of the congress and the office initiates the process of determining reasonable terms and rates of royalty payment by the parties, in case they are not able to reach a conclusion they conveys a copyright arbitration panel. The rates are decided by the panel after considering fair market