Copyright economic rights

Copyright economic rights

Copyright economic rights, the term “Copyright,” though used in the singular, actually means a set of economic and moral rights. At the heart of copyright protection is the concept of rewarding the author for his creative work over a set time frame. This is achieved by giving him the right, for a limited period, to prevent others from committing, without his permission, specific actions related to economic rights.
The economic rights of the author are:

The right to reproduce the work, or otherwise the right to make copies of the book.

What are copies of the work?

There is no definition in them in our law. According to American law, these are material objects on which the work is fixed by any method, such as those known and later invented, and from which the work can be perceived, reproduced, or communicated in any other direct way or with the help of the car.
Of course, the first thing that comes to mind when thinking of a copy of the work is a physical copy. But in today’s reality, there is often another kind of reproduction of the book, the electronic document, which is a material copy. For example, when you find a song online and download it to your computer, you do nothing but copy it.

If this action is taken without the author’s permission, then this constitutes a violation of the copyright and, precisely, a violation of his right to reproduce the work. E The same is true of photos, text, and everything else on the Internet that enjoys copyright protection. A trendy case in the US in 2001 was the case of Napster, the operator of a Website – providing its subscribers with the opportunity to find songs online for free and download them to their computers. Songs on the Internet were received by subscribers who were online at the time the copy was made. Thus, the offenders were the subscribers themselves because they were the ones offering the songs. What the operator was doing was merely creating a system where online subscribers could get pieces from one another at a time. Copyright, This case was closed with a massive fine that the Napster operator had to pay to several discography houses joined as joint claimants. Understandably, the offenders themselves couldn’t take any action.

The right to import the work for distribution to the public
The author may decide to sell his work overseas at a price lower than the cost of his career in the country of origin. For this reason, buying these works overseas and selling them at a competitive price in your home country can be a tempting business for third parties. By making the right to import the work a copyright exclusivity, any other person who imports it without permission violates copyright law. This does not prevent it from purchasing the copy overseas and placing it in the country of origin when it is for personal use.

The right to translate the work

Even the translation of the work as copyright cannot be done without its permission. We often look at the translation of works by foreign authors. They are illegal and may become the object of review in court if the author’s permission has not previously been obtained. Generally, authors grant this kind of right, for a symbolic amount, to small and unexplored places like Albania, so it is advisable for anyone who wishes to translate a foreign work to seek his authorization first. Of course, translating an alien book and publishing it without the author’s name is a serious offense. Translations are called derivative works, and the translator is entitled only to their translation.

Directions to adapt, systematize, transform the work.
Adaptation, transformation, or systematization of a work results in a new work, derived initially but also copyrighted for those original elements instead of the first work. The right to create these kinds of derivative works belongs to the author of the original book. Only he has the right to authorize others to perform these actions.

Making adjustments, transformations, and deployments are some of the main ways of exploring the original work, bringing substantial benefits to the original work’s author. Thus, films or plays are often created from novels. The copyright in these derivative works belongs to the producer, while the author of the story continues to retain copyright over his book. This means that it aims to empower other people to make another film based on his work. Producers of the two films will continue to retain each copyright in their films, but this right will extend only to the original elements that each film has, and not to those elements of the novel.

– The right to display or declare the work to the public to demonstrate and communicate a book means to show a copy of it to the public through processes and apparatus (the case of films shown in cinemas). The sale, renting, or another form of distribution, and the execution or display of work before the public. Read by apparatus. Therefore, videotapes that rent movies or soundtracks should only do so with the authorization of the authors of these works.

– Another request covers the right to communicate the work to the public by broadcast or re transmission. Whether broadcasting by cable or other means, I think that the proposal to share the work to the public through broadcasting or re transmission only includes non-cable broadcasting and re transmission, a job done by broadcasting organizations such as radio and television.

– The right to transmit the work to the public by cable to other broadcasters; This right includes broadcasting, but non-broadcast by television, people, do not present where the communication begins.
The author rewards the creative work by exploiting the work, authorizing third parties to perform one or more of the remuneration’s economic rights actions. The author is permitted to do so only for a specified period.

1. For collective photographic and audiovisual works, economic rights shall be preserved for up to 70 years from the date the piece is shown to the public.

2. If the work has not appeared to the public, the term of protection of the book is 70m years from the date of creation of the work.

3. For applied works of art, the moral and economic rights are protected for 25 years from the book’s date of production.

What about other co-authored works? What is the term of protection?

For joint works, the term of protection is up to 70 years after the last co-author’s death. Whereas for pooled results, we have two types of protection

1) the copyright for each separate contribution belonging to the respective author of that contribution, and

2) that copyright in work as a whole extends solely to the selection and organization of particular gifts and belongs to the one who made this type of assignment. Therefore, the copyright for each contribution is protected up to 70 years after each author’s death. The copyright in the collective work is protected for up to 70 years after the end of the person who selected and organized the contributions, especially in the collective.

Each deadline runs until the end of the calendar year. Thus, if the author died on May 30, 2014, the work will continue to be copyrighted until May 30, 2084. During this term of protection, no one will perform any of the preceding actions that are part of the economic rights, never before the author’s praise. Seventy years after the author’s death, everyone is free to perform the above actions, so it is said that the work is in the public domain.

During the protection period, no one can perform actions included in the copyright’s economic rights without first obtaining his permission. Still, there are also times when such activities may be performed without the author’s prior consent. Generally, these actions are for the public’s benefit and do not cause any significant economic loss to the author. These are known as restrictions on economic rights.

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