COPYRIGHT AND DESIGNS PREWRITES
INTRODUCTION ............................................................................................................................................. 9
WHAT IS COPYRIGHT? ............................................................................................................................................. 9
WHY CARE ABOUT COPYRIGHT? ................................................................................................................................ 9
WHAT IS THE AIM OF COPYRIGHT? ............................................................................................................................. 9
SUBSISTENCE OF COPYRIGHT ....................................................................................................................... 11
ORIGINALITY ........................................................................................................................................................ 12
MATERIAL FORM .................................................................................................................................................. 14
SUBSTANTIALITY ................................................................................................................................................... 14
ORIGINALITY, MATERIAL FORM, SUBSTANTIALITY OF PART IV SUBJECT MATTER ............................................................... 14
COPYRIGHT SUBJECT MATTER CATEGORIES PART III .................................................................................... 15
LITERARY WORKS ................................................................................................................................................. 15
Math Questions........................................................................................................................................... 15
T-Shirt designs ............................................................................................................................................. 15
News article headlines ................................................................................................................................ 15
Literary works being compilation ................................................................................................................ 15
Author REQUIRED for Compilations ......................................................................................................................... 16
Compilations BY COMPUTERS .................................................................................................................................. 16
Literary works being computer programs ................................................................................................... 16
Digital Files Storing Content (.mp4 or .pdf file)........................................................................................................ 17
DRAMATIC WORKS ............................................................................................................................................... 17
Examples of Dramatic Works ...................................................................................................................... 17
Marginal Dramatic Works........................................................................................................................... 18
Game Show/Reality Show ........................................................................................................................... 18
Synopsis for Reality Game Show .............................................................................................................................. 18
Fireworks.................................................................................................................................................................. 18
Video Games ............................................................................................................................................................ 19
Arrangement of objects ........................................................................................................................................... 19
MUSICAL WORKS ................................................................................................................................................. 19
Song being both literary and Musical Work? .............................................................................................. 19
ARTISTIC WORKS .................................................................................................................................................. 20
Visual Art ..................................................................................................................................................... 20
Drawings .................................................................................................................................................................. 20
Paintings................................................................................................................................................................... 20
Sculptures ................................................................................................................................................................ 21
Engravings ................................................................................................................................................................ 22
Photographs ............................................................................................................................................................. 22
Architecture................................................................................................................................................. 23
Work of artistic craftsmanship whether or not mentioned in paragraph ................................................... 24
WORKS OF JOINT AUTHORSHIP................................................................................................................................ 24
The requirement of collaboration ............................................................................................................... 24
An authorial contribution ............................................................................................................................ 26
Identification of authors.............................................................................................................................. 27
‘SUBJECT MATTER OTHER THAN WORKS’ CATEGORIES PART IV ................................................................... 28
SOUND RECORDINGS ............................................................................................................................................. 28
CINEMATOGRAPH FILMS ......................................................................................................................................... 29
CINEMATOGRAPH FILMS AND SOUND RECORDINGS OVERLAP ........................................................................................ 29
SOUND AND TELEVISION BROADCASTS ....................................................................................................................... 30
PUBLISHED EDITIONS OF WORKS .............................................................................................................................. 31
DERIVATION, SUBSTANTIAL PART AND THE PART III-PART IV DISTINCTION .................................................. 32
THE ROLE OF DERIVATION ....................................................................................................................................... 32
Intention for Derivation? ............................................................................................................................. 32
, Derivation in Part III .................................................................................................................................... 32
Derivation in Part IV .................................................................................................................................... 33
Indirect Derivation ...................................................................................................................................... 33
Artistic Works........................................................................................................................................................... 33
Problem with Derivation Argument ............................................................................................................ 34
THE ROLE OF SUBSTANTIAL PART ............................................................................................................................. 34
Substantial Part in Part III ........................................................................................................................... 35
Background Commercial Choices ............................................................................................................................. 35
Compilation .............................................................................................................................................................. 35
Music ........................................................................................................................................................................ 35
Substantial Part in Part IV ........................................................................................................................... 36
INTERMINGLING OF DERIVATION AND SUBSTANTIAL PART .............................................................................................. 36
EXCLUSIVE RIGHTS ....................................................................................................................................... 38
EXCLUSIVE RIGHT OF REPRODUCTION ....................................................................................................................... 38
Material Form ............................................................................................................................................. 39
EXCLUSIVE RIGHT OF PUBLICATION ........................................................................................................................... 40
EXCLUSIVE RIGHT TO PERFORM THE WORK IN PUBLIC .................................................................................................. 40
What does “to the public” mean? ............................................................................................................... 41
EXCLUSIVE RIGHT TO COMMUNICATE TO THE PUBLIC ................................................................................................... 41
What does “to the public” mean? ............................................................................................................... 42
Geographical Coverage ............................................................................................................................... 42
Who Exercises the Communication Right? .................................................................................................. 42
Digital platform settings........................................................................................................................................... 43
Joint Exercise of Exclusive Right? ............................................................................................................................. 44
Where should the communicator be? ......................................................................................................... 44
Broadcasting ............................................................................................................................................... 44
RIGHT TO ADAPTATION .......................................................................................................................................... 44
RIGHT TO RENT OUT .............................................................................................................................................. 45
Computer program exception ..................................................................................................................... 45
Grandfathering exception ........................................................................................................................... 46
EXCLUSIVE RIGHTS (PART IV)........................................................................................................................ 46
SOUND RECORDINGS ............................................................................................................................................. 46
To make a copy: s85(1)(a) ........................................................................................................................... 46
To cause the recording to be heard in public: s85(1)(b) .............................................................................. 46
To communicate the recording to the public: s85(1)(c) .............................................................................. 46
To enter into a commercial rental arrangement: s 85(1)(d) ....................................................................... 46
CINEMATOGRAPH FILM .......................................................................................................................................... 46
To copy: s86(a) ............................................................................................................................................ 46
To cause the film to be seen or heard in public: s 86(b) .............................................................................. 47
To communicate the film to the public: s 86(c) ........................................................................................... 47
Note the absence of a rental right .............................................................................................................. 47
TELEVISION AND SOUND BROADCASTS ...................................................................................................................... 47
Television broadcast ................................................................................................................................... 47
Sound broadcast ......................................................................................................................................... 47
PUBLISHED EDITION .............................................................................................................................................. 48
OWNERSHIP, PROVING TITLE IN LITIGATION AND TERM DURATION ............................................................ 48
PRESUMPTIONS IN RELATION TO OWNERSHIP ............................................................................................................. 48
RULE OF OWNERSHIP FOR WORKS (PART III) ........................................................................................................... 49
How to determine the Author ..................................................................................................................... 49
Special Works Ownership – Employees ....................................................................................................... 49
Contract of Service ................................................................................................................................................... 50
In Pursuance of Terms ............................................................................................................................................. 50
Special Works Ownership – Employee journalist authors ........................................................................... 50
Special Ownership Case – Certain privately commissioned works .............................................................. 51
What is a portrait? ................................................................................................................................................... 51
, SUBJECT MATTER OTHER THAN WORKS OWNERSHIP RULES (PART IV) ......................................................................... 51
Sound recordings......................................................................................................................................... 52
Who is Owner .......................................................................................................................................................... 52
Human Performer involved...................................................................................................................................... 52
Cinematograph films ................................................................................................................................... 52
Who is Owner .......................................................................................................................................................... 52
Broadcasts - television and sound ............................................................................................................... 53
Published editions ....................................................................................................................................... 53
CROWN OWNERSHIP ............................................................................................................................................. 53
Who is the Crown? ...................................................................................................................................... 54
What is made/first published “under direction or control”? ....................................................................... 54
CO-OWNERSHIP ................................................................................................................................................... 54
Types of Co-ownership ................................................................................................................................ 55
Co-ownership common law rules ................................................................................................................ 55
TRANSFER OF OWNERSHIP RIGHTS ........................................................................................................................... 56
Differential treatment of assignments ........................................................................................................ 56
Assignment when there is no writing .......................................................................................................... 57
EXCLUSIVE LICENCES.............................................................................................................................................. 58
Rights of a licensee...................................................................................................................................... 58
COPYRIGHT TERMS FROM 1 JANUARY 2019 .............................................................................................................. 58
Crown Copyright Term ................................................................................................................................ 59
EXCEPTIONS TO INFRINGEMENT OF COPYRIGHT .......................................................................................... 60
RELATIONSHIP BETWEEN REMUNERATED AND FREE EXCEPTIONS .................................................................................... 60
REMUNERATED LICENCES........................................................................................................................................ 60
The recording of musical works and associated lyrics................................................................................. 60
Causing sound recordings to be heard in public.......................................................................................... 61
The broadcast of sound recordings ............................................................................................................. 61
Educational statutory licences .................................................................................................................... 61
Retransmission of broadcasts ..................................................................................................................... 62
Government use and copying...................................................................................................................... 62
Scope of s183 ........................................................................................................................................................... 63
FREE EXCEPTIONS ................................................................................................................................................. 63
Implied Licence (Common Law)................................................................................................................... 63
Operation of Implied licence.................................................................................................................................... 64
Requirement of Necessity and Onus ........................................................................................................... 64
Fair dealing (Statutory) ............................................................................................................................... 65
Fair dealing for purposes of research or study ........................................................................................................ 65
Scope of research or study ................................................................................................................................. 65
Operation of the exception ................................................................................................................................ 66
Fair dealing for purposes of criticism or review....................................................................................................... 66
Operation of criticism or review ......................................................................................................................... 67
Consumptive or productive use .......................................................................................................................... 67
Acknowledgment ................................................................................................................................................ 68
Fair dealing for parody or satire............................................................................................................................... 68
Consumptive or productive use .......................................................................................................................... 68
Operation of parody or satire ............................................................................................................................. 69
Fair dealing for reporting news ................................................................................................................................ 70
Operation of reporting news .............................................................................................................................. 70
Fair dealing access by persons with a disability ....................................................................................................... 71
Operation of access by persons with a disability ................................................................................................ 71
Artistic works exceptions (Part III, Division 7) .......................................................................................................... 72
The design/copyright overlap artistic work exceptions (Part III, Division 8) ............................................................ 73
Private use exceptions ............................................................................................................................................. 73
Time-Shifting of Broadcast content .................................................................................................................... 73
Format-shifting of content stored on re-recorded media. ................................................................................. 74
Computer program exceptions ................................................................................................................................ 74
Other miscellaneous statutory exceptions .............................................................................................................. 75
FAIR DEALING AND CONTRACT ................................................................................................................................ 75
, VOLUNTARY LICENSING AND INFRINGEMENT .............................................................................................. 76
DIRECT INFRINGEMENT .......................................................................................................................................... 76
Territoriality ................................................................................................................................................ 76
Foreign Judgments Act 1991 .................................................................................................................................... 77
Trans-Tasman Proceedings Act 2010 ....................................................................................................................... 77
Common law ............................................................................................................................................................ 77
LICENCE .............................................................................................................................................................. 78
Voluntary Licence ........................................................................................................................................ 78
Contractual Licence.................................................................................................................................................. 78
Bare licences and their revocation........................................................................................................................... 79
Sub-licensing and reliance on licence ...................................................................................................................... 79
Enforceability of licence against future owners....................................................................................................... 80
Sound recording and unlocatable co-owners .......................................................................................................... 80
Voluntary Licence Scheme Oversight .......................................................................................................... 80
IS ‘TOLERATED USE’ WITHOUT “THE LICENCE OF THE OWNER OF THE COPYRIGHT”? .............................................. 81
INFRINGEMENT BY AUTHORISING.............................................................................................................................. 81
Control-based settings ................................................................................................................................ 82
Statutory recognition ............................................................................................................................................... 82
Examples of Control-based ...................................................................................................................................... 82
Approval-based settings ............................................................................................................................. 83
Online service providers liability.................................................................................................................. 84
Permitting place of public entertainment to be used for performance....................................................... 85
EXCEPTION FOR AUTHORISATION LIABILITY ................................................................................................................ 85
Mere use of facilities exceptions – Digital Agenda Reforms 2001 .............................................................. 85
The Australian safe harbour regime and other specific exceptions......................................................................... 85
JOINT TORTFEASOR LIABILITY ................................................................................................................................... 86
INDIRECT INFRINGEMENT........................................................................................................................................ 87
General Principle ......................................................................................................................................... 88
Restricted conduct ................................................................................................................................................... 88
Absence of permission ............................................................................................................................................. 88
Knowledge requirement .......................................................................................................................................... 88
Meaning of an “article” ............................................................................................................................................ 89
Parallel importation exceptions .................................................................................................................. 89
Before and After Statutory intervention .................................................................................................................. 90
US Approach................................................................................................................................................ 90
TECHNICAL PROTECTION MEASURES......................................................................................................................... 90
Scope of TPM .............................................................................................................................................. 93
Online-Geo Blocks .................................................................................................................................................... 93
Spare Parts and Repair ............................................................................................................................................. 93
Exceptions to TPMs ..................................................................................................................................... 93
GROUNDLESS THREATS .......................................................................................................................................... 94
Threats of copyright infringement .............................................................................................................. 94
Does a lost copyright infringement case necessarily create a groundless threat action? ....................................... 95
Threats relating to technological protection measures .............................................................................. 95
PERFORMERS’ RIGHTS ................................................................................................................................. 96
PART XIA ............................................................................................................................................................ 96
Rights Under Part XIA.................................................................................................................................. 97
Joint Performers....................................................................................................................................................... 97
Primary liability (No Knowledge Required) .............................................................................................................. 97
Secondary Liability (Knowledge required) ............................................................................................................... 98
Term of Protection ................................................................................................................................................... 99
Exempt Recordings .................................................................................................................................... 100
Remedies and its inalienability .............................................................................................................................. 101
Right of Ownership in sound recordings for Performers ........................................................................... 102
MORAL RIGHTS .......................................................................................................................................... 103
WHO HAS MORAL RIGHTS .................................................................................................................................... 103
DURATION AND EXERCISE ..................................................................................................................................... 104
INTRODUCTION ............................................................................................................................................. 9
WHAT IS COPYRIGHT? ............................................................................................................................................. 9
WHY CARE ABOUT COPYRIGHT? ................................................................................................................................ 9
WHAT IS THE AIM OF COPYRIGHT? ............................................................................................................................. 9
SUBSISTENCE OF COPYRIGHT ....................................................................................................................... 11
ORIGINALITY ........................................................................................................................................................ 12
MATERIAL FORM .................................................................................................................................................. 14
SUBSTANTIALITY ................................................................................................................................................... 14
ORIGINALITY, MATERIAL FORM, SUBSTANTIALITY OF PART IV SUBJECT MATTER ............................................................... 14
COPYRIGHT SUBJECT MATTER CATEGORIES PART III .................................................................................... 15
LITERARY WORKS ................................................................................................................................................. 15
Math Questions........................................................................................................................................... 15
T-Shirt designs ............................................................................................................................................. 15
News article headlines ................................................................................................................................ 15
Literary works being compilation ................................................................................................................ 15
Author REQUIRED for Compilations ......................................................................................................................... 16
Compilations BY COMPUTERS .................................................................................................................................. 16
Literary works being computer programs ................................................................................................... 16
Digital Files Storing Content (.mp4 or .pdf file)........................................................................................................ 17
DRAMATIC WORKS ............................................................................................................................................... 17
Examples of Dramatic Works ...................................................................................................................... 17
Marginal Dramatic Works........................................................................................................................... 18
Game Show/Reality Show ........................................................................................................................... 18
Synopsis for Reality Game Show .............................................................................................................................. 18
Fireworks.................................................................................................................................................................. 18
Video Games ............................................................................................................................................................ 19
Arrangement of objects ........................................................................................................................................... 19
MUSICAL WORKS ................................................................................................................................................. 19
Song being both literary and Musical Work? .............................................................................................. 19
ARTISTIC WORKS .................................................................................................................................................. 20
Visual Art ..................................................................................................................................................... 20
Drawings .................................................................................................................................................................. 20
Paintings................................................................................................................................................................... 20
Sculptures ................................................................................................................................................................ 21
Engravings ................................................................................................................................................................ 22
Photographs ............................................................................................................................................................. 22
Architecture................................................................................................................................................. 23
Work of artistic craftsmanship whether or not mentioned in paragraph ................................................... 24
WORKS OF JOINT AUTHORSHIP................................................................................................................................ 24
The requirement of collaboration ............................................................................................................... 24
An authorial contribution ............................................................................................................................ 26
Identification of authors.............................................................................................................................. 27
‘SUBJECT MATTER OTHER THAN WORKS’ CATEGORIES PART IV ................................................................... 28
SOUND RECORDINGS ............................................................................................................................................. 28
CINEMATOGRAPH FILMS ......................................................................................................................................... 29
CINEMATOGRAPH FILMS AND SOUND RECORDINGS OVERLAP ........................................................................................ 29
SOUND AND TELEVISION BROADCASTS ....................................................................................................................... 30
PUBLISHED EDITIONS OF WORKS .............................................................................................................................. 31
DERIVATION, SUBSTANTIAL PART AND THE PART III-PART IV DISTINCTION .................................................. 32
THE ROLE OF DERIVATION ....................................................................................................................................... 32
Intention for Derivation? ............................................................................................................................. 32
, Derivation in Part III .................................................................................................................................... 32
Derivation in Part IV .................................................................................................................................... 33
Indirect Derivation ...................................................................................................................................... 33
Artistic Works........................................................................................................................................................... 33
Problem with Derivation Argument ............................................................................................................ 34
THE ROLE OF SUBSTANTIAL PART ............................................................................................................................. 34
Substantial Part in Part III ........................................................................................................................... 35
Background Commercial Choices ............................................................................................................................. 35
Compilation .............................................................................................................................................................. 35
Music ........................................................................................................................................................................ 35
Substantial Part in Part IV ........................................................................................................................... 36
INTERMINGLING OF DERIVATION AND SUBSTANTIAL PART .............................................................................................. 36
EXCLUSIVE RIGHTS ....................................................................................................................................... 38
EXCLUSIVE RIGHT OF REPRODUCTION ....................................................................................................................... 38
Material Form ............................................................................................................................................. 39
EXCLUSIVE RIGHT OF PUBLICATION ........................................................................................................................... 40
EXCLUSIVE RIGHT TO PERFORM THE WORK IN PUBLIC .................................................................................................. 40
What does “to the public” mean? ............................................................................................................... 41
EXCLUSIVE RIGHT TO COMMUNICATE TO THE PUBLIC ................................................................................................... 41
What does “to the public” mean? ............................................................................................................... 42
Geographical Coverage ............................................................................................................................... 42
Who Exercises the Communication Right? .................................................................................................. 42
Digital platform settings........................................................................................................................................... 43
Joint Exercise of Exclusive Right? ............................................................................................................................. 44
Where should the communicator be? ......................................................................................................... 44
Broadcasting ............................................................................................................................................... 44
RIGHT TO ADAPTATION .......................................................................................................................................... 44
RIGHT TO RENT OUT .............................................................................................................................................. 45
Computer program exception ..................................................................................................................... 45
Grandfathering exception ........................................................................................................................... 46
EXCLUSIVE RIGHTS (PART IV)........................................................................................................................ 46
SOUND RECORDINGS ............................................................................................................................................. 46
To make a copy: s85(1)(a) ........................................................................................................................... 46
To cause the recording to be heard in public: s85(1)(b) .............................................................................. 46
To communicate the recording to the public: s85(1)(c) .............................................................................. 46
To enter into a commercial rental arrangement: s 85(1)(d) ....................................................................... 46
CINEMATOGRAPH FILM .......................................................................................................................................... 46
To copy: s86(a) ............................................................................................................................................ 46
To cause the film to be seen or heard in public: s 86(b) .............................................................................. 47
To communicate the film to the public: s 86(c) ........................................................................................... 47
Note the absence of a rental right .............................................................................................................. 47
TELEVISION AND SOUND BROADCASTS ...................................................................................................................... 47
Television broadcast ................................................................................................................................... 47
Sound broadcast ......................................................................................................................................... 47
PUBLISHED EDITION .............................................................................................................................................. 48
OWNERSHIP, PROVING TITLE IN LITIGATION AND TERM DURATION ............................................................ 48
PRESUMPTIONS IN RELATION TO OWNERSHIP ............................................................................................................. 48
RULE OF OWNERSHIP FOR WORKS (PART III) ........................................................................................................... 49
How to determine the Author ..................................................................................................................... 49
Special Works Ownership – Employees ....................................................................................................... 49
Contract of Service ................................................................................................................................................... 50
In Pursuance of Terms ............................................................................................................................................. 50
Special Works Ownership – Employee journalist authors ........................................................................... 50
Special Ownership Case – Certain privately commissioned works .............................................................. 51
What is a portrait? ................................................................................................................................................... 51
, SUBJECT MATTER OTHER THAN WORKS OWNERSHIP RULES (PART IV) ......................................................................... 51
Sound recordings......................................................................................................................................... 52
Who is Owner .......................................................................................................................................................... 52
Human Performer involved...................................................................................................................................... 52
Cinematograph films ................................................................................................................................... 52
Who is Owner .......................................................................................................................................................... 52
Broadcasts - television and sound ............................................................................................................... 53
Published editions ....................................................................................................................................... 53
CROWN OWNERSHIP ............................................................................................................................................. 53
Who is the Crown? ...................................................................................................................................... 54
What is made/first published “under direction or control”? ....................................................................... 54
CO-OWNERSHIP ................................................................................................................................................... 54
Types of Co-ownership ................................................................................................................................ 55
Co-ownership common law rules ................................................................................................................ 55
TRANSFER OF OWNERSHIP RIGHTS ........................................................................................................................... 56
Differential treatment of assignments ........................................................................................................ 56
Assignment when there is no writing .......................................................................................................... 57
EXCLUSIVE LICENCES.............................................................................................................................................. 58
Rights of a licensee...................................................................................................................................... 58
COPYRIGHT TERMS FROM 1 JANUARY 2019 .............................................................................................................. 58
Crown Copyright Term ................................................................................................................................ 59
EXCEPTIONS TO INFRINGEMENT OF COPYRIGHT .......................................................................................... 60
RELATIONSHIP BETWEEN REMUNERATED AND FREE EXCEPTIONS .................................................................................... 60
REMUNERATED LICENCES........................................................................................................................................ 60
The recording of musical works and associated lyrics................................................................................. 60
Causing sound recordings to be heard in public.......................................................................................... 61
The broadcast of sound recordings ............................................................................................................. 61
Educational statutory licences .................................................................................................................... 61
Retransmission of broadcasts ..................................................................................................................... 62
Government use and copying...................................................................................................................... 62
Scope of s183 ........................................................................................................................................................... 63
FREE EXCEPTIONS ................................................................................................................................................. 63
Implied Licence (Common Law)................................................................................................................... 63
Operation of Implied licence.................................................................................................................................... 64
Requirement of Necessity and Onus ........................................................................................................... 64
Fair dealing (Statutory) ............................................................................................................................... 65
Fair dealing for purposes of research or study ........................................................................................................ 65
Scope of research or study ................................................................................................................................. 65
Operation of the exception ................................................................................................................................ 66
Fair dealing for purposes of criticism or review....................................................................................................... 66
Operation of criticism or review ......................................................................................................................... 67
Consumptive or productive use .......................................................................................................................... 67
Acknowledgment ................................................................................................................................................ 68
Fair dealing for parody or satire............................................................................................................................... 68
Consumptive or productive use .......................................................................................................................... 68
Operation of parody or satire ............................................................................................................................. 69
Fair dealing for reporting news ................................................................................................................................ 70
Operation of reporting news .............................................................................................................................. 70
Fair dealing access by persons with a disability ....................................................................................................... 71
Operation of access by persons with a disability ................................................................................................ 71
Artistic works exceptions (Part III, Division 7) .......................................................................................................... 72
The design/copyright overlap artistic work exceptions (Part III, Division 8) ............................................................ 73
Private use exceptions ............................................................................................................................................. 73
Time-Shifting of Broadcast content .................................................................................................................... 73
Format-shifting of content stored on re-recorded media. ................................................................................. 74
Computer program exceptions ................................................................................................................................ 74
Other miscellaneous statutory exceptions .............................................................................................................. 75
FAIR DEALING AND CONTRACT ................................................................................................................................ 75
, VOLUNTARY LICENSING AND INFRINGEMENT .............................................................................................. 76
DIRECT INFRINGEMENT .......................................................................................................................................... 76
Territoriality ................................................................................................................................................ 76
Foreign Judgments Act 1991 .................................................................................................................................... 77
Trans-Tasman Proceedings Act 2010 ....................................................................................................................... 77
Common law ............................................................................................................................................................ 77
LICENCE .............................................................................................................................................................. 78
Voluntary Licence ........................................................................................................................................ 78
Contractual Licence.................................................................................................................................................. 78
Bare licences and their revocation........................................................................................................................... 79
Sub-licensing and reliance on licence ...................................................................................................................... 79
Enforceability of licence against future owners....................................................................................................... 80
Sound recording and unlocatable co-owners .......................................................................................................... 80
Voluntary Licence Scheme Oversight .......................................................................................................... 80
IS ‘TOLERATED USE’ WITHOUT “THE LICENCE OF THE OWNER OF THE COPYRIGHT”? .............................................. 81
INFRINGEMENT BY AUTHORISING.............................................................................................................................. 81
Control-based settings ................................................................................................................................ 82
Statutory recognition ............................................................................................................................................... 82
Examples of Control-based ...................................................................................................................................... 82
Approval-based settings ............................................................................................................................. 83
Online service providers liability.................................................................................................................. 84
Permitting place of public entertainment to be used for performance....................................................... 85
EXCEPTION FOR AUTHORISATION LIABILITY ................................................................................................................ 85
Mere use of facilities exceptions – Digital Agenda Reforms 2001 .............................................................. 85
The Australian safe harbour regime and other specific exceptions......................................................................... 85
JOINT TORTFEASOR LIABILITY ................................................................................................................................... 86
INDIRECT INFRINGEMENT........................................................................................................................................ 87
General Principle ......................................................................................................................................... 88
Restricted conduct ................................................................................................................................................... 88
Absence of permission ............................................................................................................................................. 88
Knowledge requirement .......................................................................................................................................... 88
Meaning of an “article” ............................................................................................................................................ 89
Parallel importation exceptions .................................................................................................................. 89
Before and After Statutory intervention .................................................................................................................. 90
US Approach................................................................................................................................................ 90
TECHNICAL PROTECTION MEASURES......................................................................................................................... 90
Scope of TPM .............................................................................................................................................. 93
Online-Geo Blocks .................................................................................................................................................... 93
Spare Parts and Repair ............................................................................................................................................. 93
Exceptions to TPMs ..................................................................................................................................... 93
GROUNDLESS THREATS .......................................................................................................................................... 94
Threats of copyright infringement .............................................................................................................. 94
Does a lost copyright infringement case necessarily create a groundless threat action? ....................................... 95
Threats relating to technological protection measures .............................................................................. 95
PERFORMERS’ RIGHTS ................................................................................................................................. 96
PART XIA ............................................................................................................................................................ 96
Rights Under Part XIA.................................................................................................................................. 97
Joint Performers....................................................................................................................................................... 97
Primary liability (No Knowledge Required) .............................................................................................................. 97
Secondary Liability (Knowledge required) ............................................................................................................... 98
Term of Protection ................................................................................................................................................... 99
Exempt Recordings .................................................................................................................................... 100
Remedies and its inalienability .............................................................................................................................. 101
Right of Ownership in sound recordings for Performers ........................................................................... 102
MORAL RIGHTS .......................................................................................................................................... 103
WHO HAS MORAL RIGHTS .................................................................................................................................... 103
DURATION AND EXERCISE ..................................................................................................................................... 104
