Abstract
This article is a discussion of how digitizing and disseminating Orphan Works in the GLAM (Galleries, Libraries, Archives, and Museums) sector could have the potential to significantly reframe coll ...
Highlights
The use and reuse of digitized cultural heritage in research, creative, or commercial settings is often hampered by copyright: in particular, where copyright status or permissions cannot be ascertained
Four years have passed since the UK Orphan Works Licensing Scheme began accepting applications for commercial and non-commercial use of Orphan Works
This perfectly illustrates what the impact assessment commissioned by the UK Intellectual Property Office (IPO) predicted: that such a bureaucratic system requiring individual licensing and data entry would be ‘very little used’ (2012: 6)
Summary
The use and reuse of digitized cultural heritage in research, creative, or commercial settings is often hampered by copyright: in particular, where copyright status or permissions cannot be ascertained. Orphan Works are those works protected by copyright and for which the rights holder is unable to be identified or, even if identified, cannot be located These works encompass all different types of material culture: artwork, still images, sound and film recordings, as well as published and unpublished texts. This research addresses two questions: one, how is current EU Orphan Works legislation affecting the cultural heritage sector in the United Kingdom including the use of digitized content; and two, what changes can be made to the implementation of the EU Directive in the UK to better support the mission of cultural heritage institutions, including serving the research and creative communities?
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