{"id":3364,"date":"2012-03-06T17:25:16","date_gmt":"2012-03-06T06:25:16","guid":{"rendered":"http:\/\/sites.thomsonreuters.com.au\/journals\/?p=3364"},"modified":"2012-03-06T17:25:16","modified_gmt":"2012-03-06T06:25:16","slug":"australian-intellectual-property-journal-update","status":"publish","type":"post","link":"https:\/\/sites.thomsonreuters.com.au\/journals\/2012\/03\/06\/australian-intellectual-property-journal-update\/","title":{"rendered":"Australian Intellectual Property Journal update"},"content":{"rendered":"

The latest issue of the Australian\u00c2\u00a0Intellectual Property\u00c2\u00a0Journal<\/em> (Volume\u00c2\u00a022 Part 3) contains the following material:<\/p>\n

EDITORIAL<\/a><\/p>\n

Articles<\/h3>\n

Explosive drama: Exploring the boundaries of copyright subsistence in dramatic works<\/em><\/strong><\/a> <\/strong>\u00e2\u20ac\u201c <\/em>Sarah Bellingham<\/p>\n

This article analyses the constitutive aspects of the dramatic work, one of the four categories of Pt III subject matter in the Copyright Act 1968 (Cth). Its properties of form and the history of its production are examined. This article argues that form requirements must be interpreted broadly by the courts to account for evolving practices of expression, and maintains the relevance of the history of the individual production of a subject matter. Fireworks displays are examined as a subject against the formalist and historical aspects of the definition of a dramatic work.<\/p>\n

To purchase this article, complete the Individual Article Sale<\/a> order form and email it to tlranz.journal.orders@thomsonreuters.com<\/a>.<\/p>\n

The rule in Pub Squash: Determining \u00e2\u20ac\u0153relevant date\u00e2\u20ac\u009d for claims of misleading or deceptive conduct<\/em><\/strong><\/a> <\/strong>\u00e2\u20ac\u201c <\/em>Andrew McRobert<\/p>\n

Claims of misleading or deceptive conduct that depend on reputation subsisting in a name or some other indicia (claims analogous to passing off), are currently subject to a rule that fixes the applicant\u00e2\u20ac\u2122s reputation at a particular point in time: being the date at which the respondent commenced its conduct and not, for example, at the date at which legal action is commenced. This article traces the development of this rule in passing off and its later application to allegations of misleading or deceptive conduct. The author argues that the rule inherently tends to permit the continuing deception of consumers and should no longer be applied in misleading or deceptive conduct cases.<\/p>\n

To purchase this article, complete the Individual Article Sale<\/a> order form and email it to tlranz.journal.orders@thomsonreuters.com<\/a>.<\/p>\n

Musicological and legal perspectives on music borrowing: Past, present and future<\/a> <\/em><\/strong>\u00e2\u20ac\u201c Wellett Potter and Heather A Forrest<\/p>\n

Music borrowing is a practice commonly employed by music composers whereby fragments of previously composed music are incorporated into new compositions. It is a practice that has been in use for hundreds of years, spanning musical genres and styles from medieval liturgical chants to rap, and yet the law relating to rights in musical works has yet to accommodate its ubiquity. The practice of music borrowing and the problems that it presents copyright law are highlighted by the recent case of Larrikin Music Publishing Pty Ltd v EMI Songs Australia Pty Ltd (2010) 83 IPR 582; [2010] FCA 29. This case offers a timely opportunity to examine the practice of music borrowing from the differing perspectives of musicology and law in order to understand the treatment \u00e2\u20ac\u201c past, present and likely future \u00e2\u20ac\u201c of music borrowing in Australian copyright law.<\/p>\n

To purchase this article, complete the Individual Article Sale<\/a> order form and email it to tlranz.journal.orders@thomsonreuters.com<\/a>.<\/p>\n

For the pdf version of the table of contents, click here:\u00c2\u00a0AIPJ Vol 22 Pt 3 Contents<\/a>.<\/p>\n

Click here to access this Part on Westlaw AU<\/a><\/h3>\n","protected":false},"excerpt":{"rendered":"

The latest Part for the Australian Intellectual Property Journal includes three interesting articles on a range of issues relating to intellectual property. The first article, by Sarah Bellingham, analyses the constitutive aspects of the dramatic work, one of the four categories of Pt III subject matter in the Copyright Act 1968 (Cth). The second article comes from Andrew McRobert and traces the development of the Pub Squash rule in passing off and its later application to allegations of misleading or deceptive conduct. The final article, by Wellett Potter and Heather A Forrest, discusses musicological and legal perspectives on music borrowing. Not to be missed!<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[192,39],"tags":[1678,191,1679,1680,799,1681,1682,1683,196,1684,1685,1686,1687],"class_list":["post-3364","post","type-post","status-publish","format-standard","hentry","category-australian-intellectual-property-journal","category-update-summaries","tag-relevant-date","tag-aipj","tag-andrew-mcrobert","tag-cadbury-schweppes-pty-ltd-v-pub-squash-co","tag-copyright-act-1968-cth","tag-copyright-subsistence","tag-dramatic-works","tag-heather-a-forrest","tag-intellectual-property","tag-misleading-or-deceptive-conduct","tag-music-borrowing","tag-sarah-bellingham","tag-wellett-potter"],"_links":{"self":[{"href":"https:\/\/sites.thomsonreuters.com.au\/journals\/wp-json\/wp\/v2\/posts\/3364","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.thomsonreuters.com.au\/journals\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.thomsonreuters.com.au\/journals\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.thomsonreuters.com.au\/journals\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.thomsonreuters.com.au\/journals\/wp-json\/wp\/v2\/comments?post=3364"}],"version-history":[{"count":0,"href":"https:\/\/sites.thomsonreuters.com.au\/journals\/wp-json\/wp\/v2\/posts\/3364\/revisions"}],"wp:attachment":[{"href":"https:\/\/sites.thomsonreuters.com.au\/journals\/wp-json\/wp\/v2\/media?parent=3364"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.thomsonreuters.com.au\/journals\/wp-json\/wp\/v2\/categories?post=3364"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.thomsonreuters.com.au\/journals\/wp-json\/wp\/v2\/tags?post=3364"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}