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The-Copyright-Lawyer-Issue-1
The-Copyright-Lawyer-Issue-1
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Kitty Rosser<br />
<strong>Copyright</strong> update:<br />
Revocation of<br />
s.52 CDPA 1988<br />
COPYRIGHT PROTECTION<br />
Kitty Rosser, Birketts LLP, provides a brief recap of the effect<br />
of section 52 of the CDPA, and the proposed updates that<br />
could make the law more effective for copyright owners,<br />
consumers, and artistic creators.<br />
Section 52 of the CDPA limits the term of<br />
copyright protection for industrially exploited<br />
artistic works to 25 years, running from the end<br />
of the calendar year in which works are first marketed.<br />
This has the effect of bringing the term of copyright<br />
protection (for works falling within the scope of section<br />
52) in line with the maximum term of registered design<br />
protection afforded to the same works. Thus, representing<br />
a significant limitation by comparison to the standard<br />
protection period of the life of the creator plus 70 years<br />
enjoyed by other artistic works.<br />
Under The <strong>Copyright</strong> (Industrial Process and Excluded<br />
Articles) (No.2) Order 1989 (the Order) an artistic work<br />
is deemed to have been industrially exploited (and therefore<br />
to fall within the section 52 limitation) if more than<br />
50 articles are produced. The Order specifically excludes<br />
“works of sculpture, other than casts or models used, or<br />
intended to be used, as models or patterns to be multiplied<br />
by any industrial process” from the scope of section 52.<br />
Certain traditional uses of fine art, such as book jackets<br />
and postcards, are also excluded. Whilst it is a relatively<br />
simple matter to determine whether or not a work has<br />
been industrially exploited, identifying an “artistic work”<br />
for the purposes of section 52 is less clear cut. In practice,<br />
the works caught by section 52 are most commonly<br />
those described by section 4(1)(c) CDPA as “works of<br />
artistic craftsmanship”; a term which remains largely<br />
undefined by the UK courts (see box for further<br />
commentary).<br />
Résumé<br />
Kitty Rosser<br />
Kitty is an Associate at Birketts LLP. She advises a wide range of clients<br />
on the identification, protection and exploitation of both registered and<br />
unregistered intellectual property rights as well as advising on data protection<br />
and IT matters.<br />
What are “works of artistic<br />
craftsmanship”?<br />
In its response to the consultation, the Law Society<br />
called for further guidance on the meaning of “works<br />
of artistic craftsmanship” stating;<br />
“The meaning of “a work of artistic craftsmanship”<br />
is, in our view, unclear to the point of rendering the<br />
law dysfunctional”.<br />
The Law Society highlights the fact that only one<br />
case concerning a work of artistic craftsmanship has<br />
ever reached the Lords, and that each of the five Law<br />
Lords came to a different conclusion as to the meaning<br />
of the term. The IPO has also expressed concerns,<br />
stating;<br />
“[T]here is little clarity which items would be<br />
protected by copyright once the changes in law take<br />
effect, and it is impossible to predict how and when<br />
case law will develop on which specific items will have<br />
copyright protection.”<br />
Whilst the Government has indicated that it will<br />
provide guidance to assist in identifying works of<br />
artistic craftsmanship, it is unclear how far such<br />
guidance will go and it will, in any event, not carry<br />
any statutory force. As the Law Society points out, the<br />
leading case on the meaning of the term is a House of<br />
Lords decision, and it is therefore unlikely that any<br />
clear statement will be given until a case is litigated<br />
to the Supreme Court. It is likely to be many years<br />
before there is any genuine clarity as to the meaning<br />
of “works of artistic craftsmanship”.<br />
Reasons for repeal – the Flos case<br />
Whilst the repeal is implemented by section 74 of the<br />
Enterprise and Regulatory Reform Act 2013 (“ERRA”) it<br />
is necessary to look to Europe in order to identify the<br />
underlying reason for the statutory change. In 2011 the<br />
CTC Legal Media<br />
THE COPYRIGHT LAWYER<br />
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