There is a common perception that digitisation has prompted changes in creative labour markets. In particular, it is widely assumed that exploiters insist on "grabbing rights" (i.e. broadly conceived assignments of rights), that visual artists are not able to negotiate, that they are paid less...

Television formats have become a major export industry for Britain and the United States (who together account for nearly two thirds of all format hours broadcast annually worldwide). Yet, there is no such thing as a television format right under copyright law. Any producer is free to develop...

This chapter is structured around the key evolutionary phases of the modern copyright paradigm: (1) the proto-copyright of crown privileges and letter patents, responding to the invention of the printing press since the late 1400s; (2) the 18th century Battle of the Booksellers, eventually...

Preface: In 1776, Adam Smith diagnosed an oversupply in “that unprosperous race of men” called men of letters: “…their numbers are every-where so great as commonly to reduce the price of their labour to a very paltry recompense.” (The Wealth of Nations, Book I, Ch. 10) By the...

It is one of the orthodoxies of modern copyright law that the enjoyment and the exercise of the rights granted "shall not be subject to any formality" (Berne Convention 1886, Berlin revision 1908, Art.4), such as a registration requirement. In this article, we trace the origins of this provision...

The status of parody and related derivative works within the UK copyright framework lacks clarity and has been recommended for further policy study in two recent independent reviews: the Gowers Review of Intellectual Property in 2006 and the more recent Hargreaves Review of Intellectual Property...