Intellectual Property
the British Copyright Act refers to “reproducing the work in any material form”; the French
Copyright Law defines a work reproduction as “the material fixation of a work by any method
that permits indirect communication to the public”; and the U.S. Copyright Act refers merely to
the making of “copies.”
In socialist countries, although a copyright does include the right of reproduction, the right can be
exercised effectively only by state agencies. As a consequence, copyright holders have to assign
their rights to an agency—commonly their employer—and hope that the agency will promote
their copyrighted work.
Distribution rights are neither consistently defined nor consistently granted by one country to
another. To understand distribution rights, one has to consider two questions: (1) What is meant
by distribution? and (2) When are distribution rights exhausted?
The German Copyright Law defines distribution as “the right to offer to the public, or to place in
circulation, the original work or copies of the work.” In most countries, once a particular copy of
a work has been sold to a public transferee, the author’s right to control any subsequent transfers
of that particular copy ends. This is known as the “first sale doctrine,” or sometimes as the
“doctrine of exhaustion.”
There are three important limitations to the doctrine of exhaustion:
The first is that the right only applies to sales. An author who transfers an original or a copy
by lending, leasing, or as part of an exhibition retains his/her distribution right as to any
subsequent transfer.
The second limitation is that the doctrine only applies to the right of distribution of that copy.
The right to reproduce the original work, as well as other rights (such as performance rights
and moral rights), is not affected.
The third limitation has to do with the author’s right to limit rentals of distributed original
works and copies. By a widely subscribed-to international agreement, authors are entitled (at
least with regard to computer programs and motion pictures) to prohibit commercial rentals
of their copyrighted works.
Copyright owners also have a pecuniary right of performance. There are basically two approaches
to the granting of this right. One is to grant a general right of performance (droit de
représentation). The right of performance is the right “to communicate the work to the public by
any means whatsoever, including public recitation, lyrical performance, public presentation,
public projection, and telecommunication.” The second approach is to create several subsidiary
rights—in particular, the right to recite a literary work, the right to perform a musical work, the
right to make a remote presentation over loudspeakers or similar devices, the right to make a
projected image, the right to communicate by visual or sound records, and the right to make radio
and television broadcasts.
Regardless of the approach, the right of performance applies only to public performances. Private
performances—that is, performances limited to a small group of people “inter-connected
personally by mutual relations or by a relationship to the organizer”—do not infringe the
copyright. Performance of a play by members of a ladies’ club to other members of the same club
and playing music in the lobby of a hotel, in a television showroom, in a record shop, over
loudspeakers to workers in a factory, and to members of a dance club denote public
performances. A private performance would be a reading of a book to one’s family or to a small
group of close friends.
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