The term “value for signals” has been used by the CRTC since their 2010 decision, to stand for a regime where the originating broadcaster of a signal should (possibly) be in the position to recover compensation for the signal that is provided.
Brett Gaylor’s 2008 documentary RiP!: A Manifesto is, at heart, a defence of his “favourite band”, Girl Talk. It is therefore unsurprising that it does not appear to be a balanced look at the state of copyright law today, but rather a one-sided picture of current copyright law. Nonetheless, it succeeds in raising some interesting […]
On June 8th 2012, lawyers and artists will be converging in Ottawa for the Art + Law conference, hosted by CARFAC. One of the major topics of discussion will doubtless be the recently debated Artists’ Resale Right (ARR).
The issue at the heart of Sullivan v. Bristol Film Studios is not merely the trivial amount of damages. Instead, the analysis from this recent case puts the principle of proportionality front and centre.