By Tanya Aplin
Multimedia expertise is a key part of the electronic society. This publication comprehensively examines the level to which copyright and database correct safeguard multimedia works. It does so from the viewpoint of united kingdom legislation, yet with due realization being paid to european legislation, overseas treaties and comparative advancements in different jurisdictions, reminiscent of Australia and the U.S. The crucial argument of the ebook is that the copyright and database correct regimes are, for the main half, versatile sufficient to satisfy the demanding situations provided through multimedia. for that reason, it truly is neither helpful nor fascinating to introduce separate copyright safety or exact safety for multimedia works. this significant and unique new paintings should be crucial studying for any attorney engaged in advising on highbrow estate concerns on the subject of the recent media industries, and students and scholars operating in highbrow estate and computing device legislations.
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Additional info for Copyright Law in the Digital Society: The Challenges of Multimedia
1993] 8 EIPR 284. 4 JR Pardo, Copyright and Multimedia (Kluwer, The Hague, 2003) 5. 5 See generally J Tranter, Linux Multimedia Guide (O’Reilly, Sebastopol, CA, 1996). ’7 Finally, multimedia applications or products are works which are a digitised combination of diverse media with which a user can interact. It is ‘multimedia’ in this third sense which poses the greatest challenge for copyright law and which dominates most of the literature. It will be in this sense that the term ‘multimedia’ is used this book.
At 15 they state: ‘one should talk about multimedia only when both continuous and discrete media are utilized. ’ 16 Fluckiger (1995) p 7. See Steinmetz and Nahrstedt (1995) pp 13–14, for a more detailed understanding. 17 Fluckiger (1995) p 7. 20 Interactivity also appears to be understood as involving typically non-linear user interaction,21 but the technical literature does not elaborate much else on the requisite level of interactivity. The interactive quality of multimedia has been the subject of more discussion amongst legal commentators.
60 It is apparent that Stamatoudi’s primary justification for concentrating on second generation multimedia products remains the same, namely, that existing copyright legislation already adequately protects first generation multimedia products. Unlike Stamatoudi’s work, this book does not limit its scope to ‘second generation’ or sophisticated multimedia works. Instead it addresses multimedia works that range across the spectrum of interactivity for three main reasons. First, it is important to examine (rather than assert) whether or not low-level interactive multimedia is in fact adequately protected by existing copyright law.
Copyright Law in the Digital Society: The Challenges of Multimedia by Tanya Aplin