Abstract
This paper analyzes various conditions that one spiritual creation must provide in order to be considered an author's work, according to the law of the United States of America. Apart from the peculiarities that are the result of the Anglo-Saxon concept of copyright, there are other specifics such as the special, constitutionally provided, purpose of copyright in promoting learning, preserving the public domain and protecting copyright. Based on the provisions of the Federal Copyright Act (17 U.S.C.) and examples from the case law, the author explains how the originality of a work is interpreted, how the condition that the work must embody in a materialized medium is regulated and what are the typical types of copyrighted works. In addition, the author explains the main differences when it comes to American Copyright system and how the concept of registration is viewed, after the ratification of the Bern Convention, which is one of the most common causes of the problem of protection of works whose right holders are unknown, which is extremely notable when speaking of the protection of cultural heritage of marginalized groups in American society. The paper aims to point out the similarities and differences between the copyright of the USA and the law of the continental legal system in terms of the conditions for the protection of copyright works.
Highlights
Za razliku od koncepta autorskog dela u sistemu kontinentalnog prava, gde je dovoljno da je autorsko delo ispoljeno u određenoj formi, u pravu SAD se zahteva da je delo fiksirano trajnije u nekom materijalnom medijumu, kako bi moglo biti opaženo i korišćeno
The author explains the main differences when it comes to American Copyright system and how the concept of registration is viewed, after the ratification of the Bern Convention, which is one of the most common causes of the problem of protection of works whose right holders are unknown, which is extremely notable when speaking of the protection of cultural heritage of marginalized groups in American society
Summary
Autorskim pravom može biti zaštićena samo ona duhovna tvorevina koja zadovoljava uslove predviđene u odeljku 1 § 102(a) 17 U.S.C. Konstatuje se da neka dela ipak ne zadovoljavaju zahtev za fiksiranjem, poput improvizovanog govora, skeča, plesa ili drugog izvođenja, zato što nisu zabeležena u materijalizovanom medijumu, dok druga mogu biti privremeno otelotvorena u materijalnom obliku, ali ne moraju biti dovoljno trajna ili stabilna da opravdavaju zaštitu autorskih prava, kao što su, na primer, prolazne i privremene reprodukcije koje su trenutno projektovane na ekranu, elektronski prikaz na televiziji ili trenutno prisutne u memoriji računara S razvojem autorskog prava, međutim, postaje sve teže razlikovati autorski izraz od ideje, jer koncept „izraza“ u sudskoj praksi postaje amorfan, a sudska praksa je konfuzna i nedosledna pred novijim izazovima, kao što su, na primer, neznatna parafraziranja tuđeg teksta, prevodi s jednog na drugi jezik, kratki filmski snimci, prerade muzičkih dela Inc. o podobnosti računarskih programa da budu predmet zaštite autorskih prava takođe pokazuju da neujednačenost sudske prakse dovodi u pitanje pravnu sigurnost u oblasti zaštite autorskih prava (Buccafusco, 2016, pp. 1253–1254)
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