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Comparison of Copyright Laws of 20 Countries
This table indicates how to interpret the table which follows it, which compares significant aspects of copyright as it is written into the laws of twenty countries. The term “author” is used in this table to include other types of creators, such as composers, artists, filmmakers, etc.
Duration of Copyright | L = Life of author P = Publication date C = Creation date Suffixes to above: e = plus end of year j = through the next January 1
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Joint Authors | In addition to abbreviations used in Duration of Copyright: | ||
Anonymous, pseudonymous Works | In addition to abbreviations used in Duration of Copyright: | ||
Collective Works | In addition to abbreviations used in Duration of Copyright: | ||
Posthumous Publication | In addition to abbreviations used in Duration of Copyright: | ||
Photos | In addition to abbreviations used in Duration of Copyright: | ||
Sound Works | In addition to abbreviations used in Duration of Copyright: | ||
Broadcasts | In addition to abbreviations used in Duration of Copyright: | ||
Cinema Works | In addition to abbreviations used in Duration of Copyright: | ||
Determinant of Duration of Film Copyright | Where a country has “L +” (including “Le” or
“Lj”) provisions, these abbreviations indicate which creators’ lives
determine the duration: | ||
Film: start of copyright duration | R = Sold, rented (or offered thereof) | ||
Secondary forms of movies and audiovisual works | See the abbreviations used in Duration of Copyright. | ||
Particular Edition: Duration | In addition to abbreviations used in Duration of Copyright: | ||
Software | In addition to abbreviations used in Duration of Copyright: | ||
Databases | In addition to abbreviations used in Duration of Copyright: | ||
Computer-generated works | See the abbreviations used in Duration of Copyright | ||
Government works | In addition to abbreviations used in Duration of Copyright: | ||
Automatic Registration | O = Optional | ||
Notice Requirement | R = Required | ||
Ideas, expression | E = The expression of an idea can be copyrighted, but
not the idea or factual basis itself | ||
Performance Rights | In addition to abbreviations used in Duration of Copyright: | ||
Moral Rights | In addition to abbreviations used in Duration of Copyright: | ||
News | In addition to abbreviations used in Duration of Copyright: | ||
Fair Use | F = Fair Use allowed for scholarship, research,
reporting, reviews, etc. | ||
Time Shifting | Y = Yes, this country has provisions in the law for time-shifting. Typical privilege: “The making for private and domestic use of a recording of a broadcast or cable programme solely for the purpose of enabling the recording to be viewed or listened to at a more convenient time does not infringe copyright in the broadcast or cable programme or in any work included in the broadcast or cable programme.” (New Zealand, section 84) |
Additional notes:
It’s pretty much universal that copyright laws state that where a work is published
in separate volumes over the course of multiple years, each volume is considered to be
copyrighted on the basis of the year that the particular volume was first published.
Work-for-hire provisions are in the laws of many countries.
In the information for cinema works, photo, sound works, etc., where a lifetime-plus timeframe is indicated (e.g., “L +” or “Le +”), the country’s rules concerning joint authors, anonymous and pseudonymous authors, and posthumous publication also apply.
Rules for sound works refer only to works that are issued as sound media. As is the case in the United States, the soundtrack to a movie is considered to be part of the movie and not as a separate work under the laws of several countries which specifically address the subject.
Additional information on duration of copyright:
Under the laws of France, in calculating the expiration date for the works of an
author who was a citizen of France, the following timespans are not counted: 8/2/1914
through 12/31/1918 and (if the work was under copyright as of 8/13/1941) 9/3/1939 through
1/1/1948. (Articles L123-8 and L123-9) Furthermore, where an author died for France, the
copyright is entitled to an additional thirty years. (Article L123-10) Thus, an author who
died in late 1914 (perhaps among the first casualties of WWI) could receive seventy years
added upon death, an additional dozen (plus fractions) for the two World Wars, plus thirty
more for his sacrifice in uniform. His copyrights won’t expire until at earliest
2027.
Where countries have a rule about using either the year the work was first created or made available, copyright that expires cannot be regained through publication. Thus, if a work is created and then covered by copyright for the specified maximum number of years without the work being published (or otherwise made available), the work falls into the public domain without hope of copyright being recovered even if publication occurs thereafter. However, if publication occurs while the work is protected by copyright as an unpublished work (even if publication occurs during the final year of coverage), the clock starts again upon publication. In this way, in a country with a rule of “Pe + 50 (DL: Ce + 50)” a work may not go out of copyright until 99 years after creation (49 years protection prior to publication plus 50 years following publication equals 99 years). Where publication occurs only a few years following creation, the number of years of protection is reduced to just a few over fifty.
Where “P” stands for “publication,” it always means the initial publication date (said date as determined by the laws of the relevant country)
Cinema works:
Japan has a rule (Article 54(2)) which removes copyright protection from
the underlying work(s) upon expiration of the copyright in a movie, but only insofar as it
relates to the exploitation of the movie. (The underlying work continues to enjoy any
protection it is still entitled to in its other respects.)
Many countries use the term “cinematographic works” to refer to movies, thus drawing a distinct line between movies shown in theaters and video productions created specifically for television, often shown live. Other countries use the more inclusive term “audiovisual works,” which leaves room for such fringe categories as home movies shot on formats of film intended for amateurs, animated GIFs playable only on computers, and wedding videos. This table is not intended to answer how such non-theatrical formats are treated within the laws of the specific countries.
Under South Africa law, “‘cinematograph film’ means the fixation by any means whatsoever on film or any other material of a sequence of images capable, when used in conjunction with any mechanical, electronic or other device, of being seen as a moving picture and of reproduction and includes the sounds embodied in a sound-track associated with the film, but shall not include a computer program”. (Underscoring added)
Explanation concerning the “Film: start of copyright duration” row:
Just as the United States has followed two different policies as to whether to count
against the duration of copyright on a film the period when the film is merely
“performed” (exhibited) but not “published” (sold or rented)(This
distinction was built into American copyright law before the 1976 revisions; see the section
on this web site for limited publication of movies), so too do other countries
currently have policies different from one another on this matter. These data cells
indicate (in broad form) which policy is followed.
Readers are cautioned that some countries may have changed their laws on this matter prior to their current version. (The U.S. did in 1976.) Thus, in the past, the effective date of source-country copyright of a foreign movie may not have been the premiere date, even if a newer movie begins its copyright on that basis. This table does not exhaustively reference earlier versions of each country’s laws; changes for a few countries are noted below. Because a difference of date between premiere and publication could affect a calculation concerning thirty-day windows inclusive of American publication, readers should consult earlier versions of the law in a source country before assuming it to be legal to copy without authorization a film on the basis of U.S.C. §104A(h)(6)(D).
Further information concerning “Film Copyright Determined by”:
Canada has different durations for films depending on whether the owner is a
corporation or a person, and whether it is a dramatic or not. See designations elsewhere
in this table. (Canada, sec. 11.1) Where the individual is the determiner, Canada defines
the “maker” in this imprecise manner: “the person by whom the arrangements
necessary for the making of the work are undertaken”.
Japan determines this by “those who, by taking charge of producing, directing, filming, art direction, etc., have contributed to the creation or that work as a whole,” excluding creators of underlying works (novels, pre-existing music, etc.). However, work-for-hire situations don’t count. (Sections 15 and 16)
New Zealand says that the “‘Director’, in relation to a copyright work that is a film, includes any person nominated by the director of the film to exercise the director’s rights” provided “[t]he nomination is made before the completion of the making of the film” and “[t]he person nominated makes a creative contribution to the making of the film”.
Australia | Canada | Czech Republic | France | Germany | Hong Kong | India | Ireland | Italy | Japan | Mexico | Netherlands | New Zealand | Poland | Russia | Slovak Republic | South Africa | Spain | Sweden | UK | |
Duration of Copyright | Le + 70 | Le + 50 | L + 70 | Le + 70 | L + 70 | Le + 50 | Le + 60 | Lj + 70 | L + 70 | L + 50 | L + 75 | Lj + 50 | Le + 50 | Le + 50 | Lj + 70 | L + 70 | Le + 50 | Lj + 70 | Le + 70 | Le + 70 |
Joint Authors | LS | LS | LS | LS | LS | LS | LS | LS | LS | LS | LS | LS | LS | LS | LS | LS | LS | LS | LS | LS |
Anonymous, pseudonymous Works | Pe + 70 | Pe + 50 or C + 75 (shorter) | P + 70 | Pe + 70 | P + 70 (DL: C + 70) | Pe + 50 (DL: Ce + 50) | Pe + 60 | Pj + 70 | P + 70 | P + 50 | P + 75 | Pj + 50 | P3 + 50 | Pe + 50 (DL: Ce + 50) | Pj + 70 | P + 70 | Pe + 50 | Pj + 70 | P + 70 | Pe + 70 (DL: Ce + 70) |
Collective Works | -- | P + 70 | Pe + 70 | B | -- | -- | Pj + 70 (DL: Cj + 70) | B (Collection: P + 70) | Pe + 50 (DL: Ce + 50) | -- | Pe + 50 | -- | Pe + 50 | -- | Pj + 70 * | -- | Pj + 70 * | -- | -- | |
Posthumous Publication | Pe + 70 | Pe + 50 (older N/A) | P + 25 (if L + 70 past) | Pe + 25 (if Le + 70 past) | P + 25 (if L + 70 past) | L + 50 | Pj + 60 | P + 25 (if L + 70 past) ** | L + 70 | Pj + 50 | P + 75 (DL: L + 75) | Pj + 50 | L + 50 | Le + 50 (if pub'd after Le + 40: P + 10) | Pj + 70 | NC | Pe + 50 | NC | Pe + 25 | Le + 70 |
Photos | Lit. | Corp: Ce + 50 | Lit. | Lit. | Pe + 50 (DL: Ce + 50) | Lit. | Pj + 60 | Lit. | C + 20 | Lit. | Lit. | Lit. | Lit. | Lit. | Lit. | Lit | Pe + 50 (DL: Ce + 50) | Cj + 25 | Ce + 50 | Lit |
Sound Works | Pe + 70 | Ce + 50 | P + 50 (DL: C + 50) | Pj + 50 (DL: Cj + 50) | Pe + 50 (DL: Ce + 50) | Pe + 50 (DL: Ce + 50) | Pj + 60 | Pj + 50 (DL: Cj + 50) | P + 50 (DL: C + 50) | Lit. | C + 50 | Pe + 50 | Pe + 50 (DL: Ce + 50) | Lit. | Lit. | P + 50 (DL: C + 50) | Pe + 50 | Pj + 50 (DL: Cj + 50) | Pe + 50 (DL: Ce + 50) | Pe + 50 (DL: Ce + 50) |
Broadcasts | Be + 50 | Be + 50 | B + 50 | Bj + 50 | Be + 50 | Be + 50 | Be + 25 | Be + 50 | B + 50 | Lit. | B + 25 | Be + 50 | Be + 50 | Be + 50 | Lit. | B + 50 | Be + 50 | Bj + 50 | Be + 50 | Be + 50 |
Cinema Works | Pe + 70 | Le + 50; Corp: Ce + 50 | L + | L + | L + 70 | Le + 50; anon prov | Pe + 60 | Lj + 70; P + 70 if pub'd posthumous | Le + 70 | P + 50 (DL: C + 50) | C + 50 | Person: Lj + 50; Corp: Pj + 50 | Pe + 50 (DL: C + 50) | Lit. | Lit. | L + 70 | Pe + 50 (DL: Ce + 50) | L + 70; anon prov | Le + 70 | Le + 70; anon prov |
Determinant of Duration of Film Copyright | N/A | See note | DSWM | DASWM | DSWM | DSWM | N/A | DF | DSWM | See note | DAPSWM Anim | N/A | see note | DASM | DSM | -- | -- | DASWM | DSWM | DSWM |
Film: start of copyright duration | R | R | E | A | E | E | E | E | E | E | Q | R | E | E | E | R | E | E | E | |
Secondary forms of movies and audiovisual works | News Ce + 50 | documentary Pe + 50 (DL: Ce + 50) | Audiovisual fixation P + 50 (DL: C + 50) | Producer Rights P + 50 (DL: C + 50) | Producer Rights P + 50 (DL: C + 50) | Videograms: Pe + 50 | Producers rights P + 50 (DL: C + 50) | Producers rights Pj + 50 (DL: Cj + 50) | Producers rights Pe + 50 (DL: Ce + 50) | |||||||||||
Particular Edition: Duration | Pe + 25 | N/A | P + 50 | N/A | P + 25 (DL: C + 25) | Pe + 25 | N/A | Pj + 50 | N/A | N/A | N/A | -- | Pe + 25 | -- | -- | -- | Pe + 50 | -- | -- | Pe + 25 |
Software | Lit. | Lit. | Lit. | Lit. | Lit | Lit | Lit. | Lit. | Lit. | Lit. | Lit | -- | Lit. | Lit | Lit. | Lit. | Pe + 50 (DL: Ce + 50) | Person: Lit; Corp.: Pe + 70 | Lit. | Lit. |
Databases | N/A | N/A | P + 15 (DL: C + 15) | Pe + 15 (DL: Ce + 15) | Pe + 15 (DL: Ce + 15) | Lit. | Lit. | Ce + 15; rev | Pe + 15 (DL: Ce + 15); rev | Lit. | Comp; M: 5 | -- | Lit | Lit. | Lit. | C + 70; M: Pe + 15 (DL: Ce + 15) | -- | Pj + 15 (DL: Cj + 15); rev | -- | Pe + 15 (DL: Ce + 15); rev |
Computer-generated works | Ce + 50 | P + 70 | Ce + 50 | Ce + 50 | ||||||||||||||||
Government works | Lit, Drama, Music: Pe + 50 (if unpub'd: endless); Art: Ce + 50; Photo, Cinema: Pe + 50; O | Pe + 50 | -- | -- | G | Pe + 50 (DL: Ce + 75); if unpub'd Ce + 125. | Pe + 60 | Ce + 50 | -- | G | Pe + 75 | G | G; specific editions: Pe + 25; other works: Ce + 100 | G | G | G | Lit, music, art: Pe + 50; photo, film, sound: same as non-govt. | -- | GA | Pe + 50 (DL: Ce + 75); if unpub'd Ce + 125. |
Automatic Registration | -- | -- | O | O | -- | F | O | -- | O | O | -- | -- | -- | O | O | -- | Movies: P | -- | -- | -- |
Notice Requirement | OI | N/A | N/A | N/A | N/A | N/A | N/A | N/A | Sound and Photos: R | N/A | S | -- | -- | -- | O | -- | -- | O | -- | - |
Ideas, expression | F | -- | E,F | E | -- | E | -- | F | P | E | E | F,B | E | -- | F | |||||
Performance Rights | 20, 50 | 50e | P + 50 (DL: C + 50) | Pj + 50 (DL: Cj + 50) | Pe + 50 (DL: Ce + 50) | C | 50e | Pe + 50 (DL: Ce + 50) | P + 50 (DL: C + 50) | Yes | P + 50 (DL: C + 50) | -- | -- | Ce + 50 | Yes | C + 50 | -- | Pj + 50 (DL: Cj + 50) | Pe + 50 (DL: Ce + 50) | Pe + 50 (DL: Ce + 50) |
Moral Rights | Y | Y | Y | Y | Y | Y | No | Y | Y | Y | Y | Y | Y | Y | Y | -- | Y | Y | -- | Y |
News | News film: Ce + 50 | Lit. | N/A | S | S | Lit. | -- | -- | S | S | -- | N | Lit. | F | F | NS | NSF | S | S | L |
Fair Use | QS | QL | N | -- | C | Q | QS | Q | -- | N | QCN | -- | QR | -- | SN | QCN | QC | QC | C | QC |
Time Shifting | Y | -- | -- | -- | -- | Y | -- | Y | -- | -- | -- | -- | Y | -- | -- | -- | -- | -- | -- | Y |
Works made before current laws:
Hong Kong current law indicates that films, photographs and sound recordings made before
December 12, 1972, are not covered by the current law (except that films are protected
insofar as their dramatic content, if any), but may still be covered by a 1956 law.
(Schedule 2, sections 7, 8 and 13)
New Zealand current law indicates that films, engravings, “literary, dramatic, musical, or artistic work”, and unpublished works made before April 1, 1963, are not covered by the current law, although there are references to the 1913 law. (First Schedule, Transitional Provisions and Savings, 6, 12, 17-19, 40)
United Kingdom states that works which were under copyright before the 1988 law and which were entitled under that law to a later expiration date than under the new law, will continue under copyright until that later date. This schedule also discusses revived copyright for works which expired under the old law but which are entitled to longer copyright under the new law. (Schedule 1) (For more about “revived” U.K. copyrights, see the text and links elsewhere on this page.)
International considerations:
As shown on a table elsewhere on this page, most countries are parties to international
treaties whereby they respect the copyrights of the other signatory countries. Within
their own copyright laws, several countries have a provision stating that a copyrighted
terminated (or expired) in the source country won’t be recognized in this country,
regardless of any provisions permitting longer duration under the laws of the non-source
country. Just as the United States has provisions in its §104A(h)(6)(D) precluding
source-country copyright from applying where the work was “published in the United
States during the 30-day period following publication in such eligible country”, so
too do some other countries have rules stating that publication elsewhere in the 30 days
prior to publication in that country is considered simultaneous with the non-source
country and thus a determinant of which country’s law applies. Some countries (and
sections) where this apply are Ireland (184.(2)), Netherlands (47, 42), Russia (5.2), and
the United Kingdom (15(A)).
•
CITATIONS TO FOREIGN-RULES TABLE: The following two tables indicate (Table 1) the specific version of each country’s copyright law consulted for the above table, and (Table 2) the specific passage(s) containing the rule(s) involved.
Where the second column in the first table indicates “WIPO,” the laws of this country are among those of 120 countries [this number as of February 2007] accessible online from the World Intellectual Property Organization at https://www.wipo.int/clea/en/clea_tree.jsp.
Country | Source | Specific Legislation |
Australia | www.comlaw.gov.au | Copyright Act 1968, Act No. 63 of 1968 as amended, compilation prepared 26 July 2007 |
Canada | https://laws.justice.gc.ca/en/C-42/text.html | Copyright Act ( R.S. 1985, c. C-42 ), Updated to April 30, 2004 |
Czech Republic | WIPO | CZ029EN Copyright, Act, 07/04/2000, No. 121, Law No. 121/2000 Coll. of 7 April 2000 |
France | https://www.legifrance.gouv.fr/html/plan_site.html | Intellectual Property Code (Legislative Part), Mise a Jour Legifrance 15/06/03, Dernier texte modificateur Loi 2003-706 du 01/08/03 (JO 02/08/03) |
Germany | WIPO | DE080EN Copyright, Law (Consolidation), 09/09/1965 (16/07/1998); Law on Copyright and Neighboring Rights (Text of September 9, 1965, as last amended by the Law of July 16, 1998) |
Hong Kong | WIPO | HK001EN Copyright, Ordinance (Cap. 528 Consolidation), 27/06/1997 (1999), No. 92 (No. 95) |
India | https://education.nic.in/copyright/CprAct.pdf | Indian Copyright Act, 1957 (amended) |
Ireland | https://www.gov.ie/bills28/acts/2000/a2800.pdf | Number 28 of 2000, Copyright and Related Rights Act |
Italy | WIPO | IT112EN Copyright, Law (Consolidation), 22/04/1941 (02/02/2001), No. 633 (No. 95), Law No. 633 of April 22, 1941, Protection of Copyright and Rights Related to its Exercise (as last amended by Legislative Decree No. 95 of February 2, 2001) |
Japan | WIPO | JP033EN Copyright, Law (Consolidation), 06/05/1970 (12/06/1998), No. 48 (No. 101) |
Mexico | WIPO | MX003EN Copyright, Law (Consolidation), 05/12/1996 (19/05/1997), in English. Also 1998 amendments translated from Spanish by computer software. |
Netherlands | WIPO | NL001EN Copyright, Act (Consolidation), 23/09/1912 (27/10/1972) |
New Zealand | WIPO | NZ015EN Copyright, Act (Consolidation), 1913 (15/12/1994), (No. 143), 1994 |
Poland | WIPO | PL010EN Copyright, Act, 04/02/1994, No. 83 |
Russia | https://www.fips.ru/ruptoen2/law/low_cop.htm | Law on Copyright and Related Rights (No. 5351-I of July 9, 1993 as amended July 20, 2004) |
Slovak Republic | WIPO | Copyright Act, Act No. 383/1997 of 5th December 1997, as Changed and Amended by Act No. 234/2000 of 20th June 2000, Translation Version 1.2 (13. 9. 2001) |
South Africa | WIPO | ZA002EN Copyright, Act (Consolidation), 20/06/1978 (1992), No. 98 (No. 125) |
Spain | WIPO | ES070EN Copyright, Law (Consolidation), 12/04/1996 (06/03/1998), No. 1 (No. 5) |
Sweden | WIPO | SE006EN Copyright, Act (Consolidation), 30/12/1960 (07/12/1995), No. 729 (No. 1274), Act on Copyright in Literary and Artistic Works (Law No. 729, of December 30, 1960, as last amended by Law No. 1274, of December 7, 1995) |
United Kingdom | https://www.hmso.gov.uk. | Copyright, Designs and Patents Act 1988, amended through 31st December 2003. |
Locations within laws:
Australia | Canada | Czech Republic | France | Germany | Hong Kong | India | Ireland | Italy | Japan | Mexico | Netherlands | New Zealand | Poland | Russia | Slovak Republic | South Africa | Spain | Sweden | UK | |
Duration of Copyright | 33 | 6 | 27.(1) | L123-1 | 64 | 17(2) | 22 | 24.(1), 35 | 25 | 51(2) | 29. | 37. | 22(1) | 36, 39 | 27, 27.6 | 18 | 3.(2) | 26, 30 | 43 | 12 |
Joint Authors | 80 | 9. (1) | 27.(2) | L123-2 | 65.(1) | 17.(7) | 22. | 32(4) | 26 | 51(2) | 29. (I) | 37 | 22(6)(a) | 36(1) | 27.4 | 18(2) | 3(4) | 28.(1) | 43 | 12 (8)(a)(i) |
Anonymous, pseudonymous Works | 34 | 6.1 | 27.(3) | L123-3 | 66.(1) | 17.(3) | 23 | 24(2) | 27. | 52(1) | 29(II) | 38. | 17(3) | 36(2) | 27.3 | 18. (5) | 3.(3)(a) | 27.(1) | 44 | 12.(3) |
Collective Works | — | 27.(4) | L123-3 | 4.(1) | — | — | 33 | 26 | 53(1) | — | 38 | — | 36(3) | — | 18.(3) | — | 28.(2) | — | — | |
Posthumous Publication | 33(3) | 7.(1) | 27(4), 28 | L123-4 | 71.(1) | 24 | 34, 33. | 31 | 57 | 29(II). | 38 | 67.(1)(b)(ii) | 36(1), 38 | 27 | 18. (8) | 3(2)(a) | 27.(2) | 44a | 57(1)(b)(ii) | |
Photos | 10. (1) | 72.(3) | 25. | 92. | 10 | 37-38 | 22 | 1.1(3) | 27 | 6 g) | 3.(2)(b) | 128. | 49a. | 4(1)(a) | ||||||
Sound Works | 93 | 23. (1) | 77 | L211-4 | 85.(2) | 18(2) | 27 | 26 | 75 | 134. | (Amendment 18/03/1993, Art. 12) | 23(1) | 1-1(9) | 6.2 | 47 | 3.(2)(c) | 119. | 46 | 13A | |
Broadcasts | 95 | 23. (1) | 85 | L211-4 | 87(2) | 20 | 37(2) | 27(1) | 79(1), (5) | 146 | (Amendment 18/03/1993, Art. 12) | 24(1) | 98 | 13.1 | 50 | 3.(2)(d) | 127 | 48 | 14(1) | |
Cinema Works | 94 | 2, 6, 10. (1) | 27.(5) | L123-2 | 65.(2) | 19 | 26. | 25(1)-(2) | 32 | 54(1) | 138 | 37-38 | 23.(1) | Lit. | Lit. | 18(4) | 3.(2)(b) | 28.(1), (2) | 43 | 13B |
Determinant of Duration of Film Copyright | — | 2, 11.1 | 27.(5) | L113-7 | 65.(2) | 19 | 26 | 21 | 32 | 16 | 97 | 37 | 2 | 69 | 13.1 | — | 87 | 43 | 13B (2) | |
Film: start of copyright duration | 29 | 2 | 4 | 6.(2) | 17(5)(b)(ii) | 2.(ff), 3 | 24.(1) | 12 | 2.(xix), 4 | 16(III)-(IV) | 47 | 9, 10.(4)(d) | 6(1) | 4 | § 5 (9) | 1.(5) | 20.(1) | 2 | 12(5)(b), 13B | |
Secondary forms of movies and audiovisual works | 110 | 11.1 | 81. | 94.(1) | 78bis | 95 | 49(4) | 125. | 46 | |||||||||||
Particular Edition: Duration | 96 | — | 87 | — | 70.(1) | 21 | — | 29 | — | — | — | — | 25. | — | — | — | 3.(2)(f) | — | — | 15. |
Software | 10 | 2 | (2)(1) | L112-2 | 69a.(3) | 4 | 2(o) | 9(2) | 1 | 10(ix) | 102 | — | 2 | 74.1 | 7.1 | 1, 6 | 3.(2)(b) | 98.(1) | 1 | 3(a)(b) |
Databases | — | — | 93 | L342-5 | 87d | 4(1) | 1(o) | 325 | 102bis.(6)-(8) | 12bis. (1) | 107, 108 | — | 2(c) | 3 | 3 | 18, 52e | — | 136 | — | Database Rights Act 17 |
Computer-generated works | 17. (6) | 30 | 17. (2) | 12 (7) | ||||||||||||||||
Government works | 176-181 | 12 | — | — | 5. | 182 | 28A | 191-193 | — | 13 | 29(II) | 11 | 26, 27 | 4 | 8 | 6(3) | 5 | — | 9 | 163 |
Automatic Registration | — | — | 9(1) | L111-1 | — | 2, (3) | 45 | — | 6 | 75-78 | — | — | — | 4 | 9 | — | No. R2140 (24/10/1980) | — | — | — |
Notice Requirement | 131, 132B, 132C | — | — | — | — | — | — | — | 77, 90 | — | 17 | — | — | — | 9 | — | — | 146 | — | - |
Ideas, expression | 4 (2) | — | 17, 18, 19 | 1 | — | 14 | — | 15 | 3 | 6.4 | 6 | 2.(2) | 4 | — | 3(2) | |||||
Performance Rights | 189-195, 248A, 248CA | 23. (1) | 73 | L211-4 | 82 | 200, 204, 205 | 38 | 291 | 85 | 89 | 122 | — | — | 89 | 37 | 46 | — | 112 | 45 | 181 |
Moral Rights | 189-195 | 14 | 11. | L121-1 | 12-14 | 89-100, 105, 106, 114 | No | 107. - 119 | 20 | 20 | 18 - 23 | 25 | 94-104 | 82-83 | 27-28 | — | 20 | 14-16 | — | 14-16 |
News | 110 | 29.2 | — | L122-5, 3.c. | 48.(1).1 | 39-40 | — | — | 66 | 40 | — | 15 | 42 | 4 | 8 | 6, 25 | 12(8)(a) | 33 | 25 | 30(2) |
Fair Use | 40, 41, 41A, 42, 65, 103A-103C, | 29-29.2, 79-88 | 35 | — | 53, 57 | 38, 39 | 52 | 50, 51, 102 | — | 38 | 148, 150 | — | 42, 43, 44, 176 | — | 21, 22 | 21-23 | 12(1) | 31, 32, 39 | 12 | 29-31A |
Time Shifting | 111(2) | — | — | — | — | 79 | — | 250 | — | — | — | — | 84 | — | — | — | — | — | — | 70 |
You’ve seen the data —
Now read passages from the law
and read what the courts decided.
Read Citations and Case Summaries on:
• Foreign works
• • •
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