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dc.contributor.authorSUTHERSANEN, Uen_US
dc.date.accessioned2018-01-11T10:25:44Z
dc.date.available2017-07-31en_US
dc.date.issued2017-07-31en_US
dc.date.submitted2017-12-23T16:23:16.203Z
dc.identifier.issn1362-2331en_US
dc.identifier.urihttp://qmro.qmul.ac.uk/xmlui/handle/123456789/31243
dc.description.abstractWith the advent of the UK's withdrawal from the EU on uncertain and fluctuating terms, several concerns arise within copyright law. Part of the concern lies in the very nature of EU copyright law which, unlike counterpart satellite areas such as patent, design and trade mark laws, is unitary in parts, and is subject to continuous EU reform. Part of the concern also lies in the nature of several copyright principles which have no UK counterpart, and which have been newly introduced. Whether or not the UK reverts to a pre-EU situation, we need to consider whether EU copyright law following Brexit will be interpreted by reference to prior CJEU law, and if not, how will jurists treat these EU-derived principles? This article focuses primarily on the orphan works phenomenon, with some reference as well to out-of-commerce works, especially those residing within collections of publicly accessible cultural heritage institutions.en_US
dc.format.extent172 - 191 (20)en_US
dc.language.isoenen_US
dc.publisherInstitute of Art and Lawen_US
dc.relation.ispartofArt Antiquity and Lawen_US
dc.subjectArt LAwen_US
dc.subjectOrphan Worksen_US
dc.titleProperty and Culture: A Case Study on Orphan Worksen_US
dc.typeArticle
pubs.issue2en_US
pubs.notesNo embargoen_US
pubs.publication-statusPublisheden_US
pubs.volume22en_US
dcterms.dateAccepted2017-07-31en_US
qmul.funderWho Owns the Orphans? Traditional and Digital Property in Visual Art::Arts and Humanities Research Councilen_US


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