CIPPM recently presented their latest research at a high level International IP & Creative Industries Conference held at Birkbeck College, University of London on the 22nd and 23rd May 2008.
The event was organised by Dynamics of Institutions and Markets in Europe (DIME) - a network of social scientists in Europe, working on the economic and social consequences of increasing globalization and the rise of the knowledge economy. DIME is sponsored by the 6th Framework Programme of the European Union.
Prof. Martin Kretschmer, Director of CIPPM, presented findings from a long term study (co-authored by Prof. Philip Hardwick) on authors’ careers and earnings from a survey of 25,000 authors in Britain and Germany showing conclusively that current copyright law had empirically failed to meet the aims enumerated by the founding fathers of copyright law. He argued that copyright law in its current form is a weak and skewed regulatory mechanism for awarding authors and artists.
Prof. Paul Heald, Visiting Professor at CIPPM, and Allen Post Professor, University of Georgia School of Law presented his study on the bestselling musical compositions (1913-32) and their use in cinema. He argued that though economic thinking asserted under or over exploitation and value dissipation for copyrighted musical works that transition into the public domain without an owner to control their use, his study of the most valuable musical compositions from 1913-32 demonstrates that neither is true as it applies to the exploitation of songs in movies from 1968-2007. When compositions fall into the public domain, they are more likely to be exploited in movies, suggesting no under-exploitation. And the rate of exploitation of these public domain songs is no greater than that of copyrighted songs, indicating no congestion externality. The absence of market failure is likely due to producer and consumer self-regulation.
Sukhpreet Singh, PhD Candidate & Associate Lecturer at CIPPM, presented empirical evidence on 20 years of television formats rights disputes across the globe which indicated that copyright is an uncertain protection mechanism for global trade in television formats. However, formats are one of the most important as well as growing television culture exports for countries such as UK. Since TV formats fail to fall neatly within the definitions of protected material under international copyright regimes, format producers try to devise innovative means to protect their formats from being copied. This paper prepared the ground for evaluating the use and effectiveness of non-legal marketing strategies in preventing the copying of formats.
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