By Tanya Aplin
Multimedia expertise is a key section of the electronic society. This e-book comprehensively examines the level to which copyright and database correct defend multimedia works. It does so from the point of view of united kingdom legislation, yet with due recognition being paid to ecu legislations, overseas treaties and comparative advancements in different jurisdictions, corresponding to Australia and the U.S. The crucial argument of the booklet is that the copyright and database correct regimes are, for the main half, versatile sufficient to fulfill the demanding situations provided via multimedia. therefore, it truly is neither useful nor fascinating to introduce separate copyright safety or distinctive defense for multimedia works. this significant and unique new paintings may be crucial studying for any attorney engaged in advising on highbrow estate concerns on the subject of the recent media industries, and students and scholars operating in highbrow estate and computing device legislation.
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Extra resources for Copyright Law in the Digital Society: The Challenges of Multimedia
The digital and computerised combination that forms the basis of multimedia appears to have additional quantitative and qualitative characteristics. Quantitatively speaking, multimedia logically has to include the combination of two or more different types of media. ’17 Similarly, Tranter maintains 12 Hutchinson Dictionary, 190. Fluckiger (1995) p 9 and Steinmetz and Nahrstedt (1995) pp 15–16. 14 N Negroponte, Being Digital (Hodder & Stoughton, London, 1995) 15–17. 15 Steinmetz and Nahrstedt (1995) pp 14–15.
She focuses her analysis on second generation products. This is apparent from the following passage: It should be noted that the degree of interactivity is capable of introducing differences in quality between the various multimedia products found on the market. Multimedia works with a primitive form of interactivity (such as electronic encyclopaedias or interactive databases) can still be adequately protected by the existing copyright legislation. This is the first generation of multimedia products.
17 Similarly, Tranter maintains 12 Hutchinson Dictionary, 190. Fluckiger (1995) p 9 and Steinmetz and Nahrstedt (1995) pp 15–16. 14 N Negroponte, Being Digital (Hodder & Stoughton, London, 1995) 15–17. 15 Steinmetz and Nahrstedt (1995) pp 14–15. At 15 they state: ‘one should talk about multimedia only when both continuous and discrete media are utilized. ’ 16 Fluckiger (1995) p 7. See Steinmetz and Nahrstedt (1995) pp 13–14, for a more detailed understanding. 17 Fluckiger (1995) p 7. 20 Interactivity also appears to be understood as involving typically non-linear user interaction,21 but the technical literature does not elaborate much else on the requisite level of interactivity.