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The parody exception in copyright law / Sabine Jacques

Author
Jacques, Sabine
Published
Oxford : Oxford University Press, 2019.
Edition
First edition.
Physical Description
1 online resource
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Contents
Machine generated contents note: 1.Parody---Nature and Definition -- 1.What is a Parody? -- 2.Origin and Historical Overview of Parody in Art Fields -- 2.1.Etymology of `parody' -- 2.2.Early uses of parody as a vehicle for political and social commentaries -- 2.3.Early particularities of music parodies -- 2.4.Narrowing parody to its ridiculing or imitative function -- 2.5.From ridicule to mockery -- 2.6.Persistence of music parodies' digression: referencing other works through alteration and distortion -- 2.7.Downfall of the genre -- 2.8.Rebirth of the genre: multi-functionality of parodies -- 3.The Relationship of Parody with Other Related Concepts -- 3.1.Parody and irony -- 3.2.Parody and satire -- 3.3.Parody and burlesque (or travesty) -- 3.4.Parody and caricature -- 3.5.Parody and pastiche -- 3.6.Parody and imitation -- 3.7.Parody and plagiarism -- 3.8.Conclusion -- 4.Cultural Scholars' Definition of Parody -- 4.1.Linking parody to an art field or societal context -- 4.2.Defining parody through its functions -- 4.3.Lessons for the legal interpretation of parody -- 5.Towards a Legal Definition of Parody -- 5.1.The origins of the parody exception and its basis in human rights values -- 5.2.The European Union -- 5.2.1.France -- 5.2.1.1.Defining parody broadly as a change of context -- 5.2.1.2.Attempts at distinguishing parody from other related terms -- 5.2.2.The United Kingdom -- 5.3.The United States -- 5.4.Australia -- 5.5.Canada -- 6.Conclusion -- 2.Legality of the Parody Exception in Light of International Treaties and Domestic Copyright Laws -- 1.Introduction -- 2.Why is a Specific Parody Exception Needed in Copyright Legislation? -- 2.1.The birth of the copyright system -- 2.2.The impact of different political philosophies on shaping the copyright system -- 2.3.Reinstating legitimacy in the copyright paradigm through a specific parody exception -- 3.What is the Three-Step Test? -- 3.1.The origins and morphing of the three-step test -- 3.1.1.Protection of the reproduction right -- 3.1.2.The EU variant -- 3.1.3.Interim conclusion -- 3.2.The interpretation of the three-step test -- 3.2.1.Certain special cases -- 3.2.2.Conflict with the normal exploitation of the work -- 3.2.3.Absence of unreasonable prejudice to the legitimate interests of the author/right-holder -- 3.2.4.What is the realm of the three-step test? -- 4.Compliance of the Parody Exception with the Three-Step Test -- 4.1.France -- 4.2.The United Kingdom -- 4.3.Australia -- 4.4.Canada -- 4.5.The United States -- 5.Conclusion -- 3.Consequences of the Nature of the Parody Exception -- 1.The `Mechanics' Behind the Parody Exception -- 2.The Nature of a Parody Exception in Copyright Law -- 2.1.A right or an interest? -- 2.2.Strict interpretation vs `user rights' as rules of interpretation -- 2.2.1.Strict interpretation as a rule of interpretation -- 2.2.1.1.Mixed guidance at EU level -- 2.2.1.2.National interpretations -- 2.2.2.User's rights as a rule of interpretation -- 2.2.3.Conclusion -- 3.Can the Parody Exception be Waived by Contract? -- 3.1.Principle: freedom of contract -- 3.2.Exceptions: mandatory character of the parody exception -- 4.Conclusion -- 4.Factors to Consider for the Application of the Parody Exception -- 1.The Difficulty of Defining the Exception's Contours -- 2.Factors Commonly Applied -- 2.1.The intent of the parodist -- 2.1.1.Humorous intent -- 2.1.2.Absence of harm -- 2.2.Absence of confusion -- 2.3.Amount reproduced -- 2.4.Motives of the parodist -- 3.Factors Relevant for Certain Jurisdictions Only -- 3.1.Encroachment upon the right-holder's economic rights -- 3.2.Alternatives to the dealing -- 3.3.The resurgence of the three-step test -- 4.Irrelevant Factors for the Application of the Parody Exception -- 4.1.Originality of the parody -- 4.2.Target of the parody -- 4.3.Acknowledgement of the original -- 4.4.Attribution of the identity of the parodist -- 5.Can Domestic Courts Adopt Additional Factors? -- 6.Conclusion -- 5.How Freedom of Expression Defines the Parody Exception -- 1.Introduction -- 2.The Parody Exception Embodying Human Rights Aspects -- 3.Scope of Freedom of Expression at Supranational Levels -- 3.1.International recognition of the right to freedom of expression -- 3.2.European recognition of the right to freedom of expression -- 4.Restrictions to Freedom of Expression to Respect the Rights of Others -- 4.1.Relevant factors under the ECHR -- 4.1.1.Nature of the expression -- 4.1.2.Form of the expression -- 4.1.3.Attitude of the speaker -- 4.1.4.Context in which the expression is made -- 4.1.5.Content of the expression -- 4.1.5.1.Racially and ethnically discriminatory messages -- 4.1.5.2.Offending personal religious convictions -- 4.1.5.3.Message contrary to morality -- 4.1.5.4.Denialism -- 4.2.Lessons from ECtHR jurisprudence -- 5.Striking a Balance at Domestic Level: the Importance of Constitutional Influences -- 5.1.France: a liberal interpretation of freedom of expression through a bifurcated system -- 5.2.The UK: perceptible tensions between freedom of expression and copyright -- 5.3.Canada: increased role of the Canadian Charter of Rights and Freedoms -- 5.4.Australia: a patchwork of state laws -- 5.5.The US: a robust culture of promoting free speech -- 6.Conclusion -- 6.Parody and Moral Rights -- 1.Introduction -- 2.Why Parodies Sit Uncomfortably with Moral Rights -- 3.The Implications of Monist and Dualist Theories for the Parody Exception -- 3.1.France: Le droit moral -- 3.2.Common law tradition and moral rights -- 3.3.Moral rights and economic rights: unity or separation? -- 3.4.European Union influence despite the lack of EU harmonization -- 3.5.The United States and the patchwork of protection -- 3.6.Conclusion -- 4.Does the Parody Exception Clash with the Personal Interests of the Author? -- 4.1.The paternity right -- 4.1.1.Countries with dedicated authorship provisions in their copyright law -- 4.1.2.The US: the odd one out -- 4.1.3.Reconciling parody with the paternity right -- 4.2.The right against false attribution -- 4.2.1.Objecting to a parody based on false attribution -- 4.2.2.The right against false attribution in the US -- 4.2.3.Parody and the tolerance of temporary confusion -- 4.3.The integrity right -- 4.3.1.Respect of the work in the way intended by its author -- 4.3.1.1.Protecting the integrity of works through copyright legislation -- 4.3.1.2.The US reluctance to recognize an integrity right for distortion or mutilation -- 4.3.2.Reconciling parody with the integrity right -- 5.Conclusion -- 7.The Music Industry and the Future of the Parody Exception in Copyright Law -- 1.The Role of Business Practices in the Realization of the Goals Underpinning the Parody Exception -- 1.1.The music business -- 1.2.The actors -- 1.3.Publishing and recording contracts -- 1.3.1.Rights -- 1.3.2.Creativity control and moral rights -- 1.3.3.Denigrating content -- 1.3.4.Conclusion -- 1.4.Collecting rights societies -- 1.4.1.Modus operandi -- 1.4.2.Licensing for the purpose of parody -- 1.4.3.Exploiting a parody commercially -- 1.5.Online sharing platforms -- 1.5.1.Content ID -- 1.5.2.Licensing online sharing platforms -- 1.6.Reflecting on UK practices -- 2.Shaping the Parody Exception Using the Human Rights Framework -- 2.1.The standing of the speaker -- 2.2.The intent of the speaker -- 2.3.The form of the expression -- 2.4.The type of the expression -- 2.5.The medium used -- 2.6.The context of the expression -- 2.7.The content of the expression -- 3.Preventing Abuses -- 3.1.Freedom of expression v. personality rights -- 3.2.Freedom of expression v. non-discrimination -- 3.3.Freedom of expression v. morals -- 4.A Desirable Harmonization -- 5.Conclusion: Towards a Right to Parody?.
Summary
Parodies have been created throughout times and cultures. A glimpse at the general judicial latitude generally afforded to parodies, satires, caricatures, and pastiches demonstrates the social and cultural value of this particular form of artistic expression. With the advent of technologies and the evolution of copyright legislation, creative endeavours in the form of parody gathered a new youth but became unlawful. While copyright law grants exclusive rights to right-holders, this right is not absolute. Legislation includes specific exceptions, which preclude right-holders from exercising their prerogatives in particular cases which foster creativity and cultural diversity within that society. The parody exception pertains to this ultimate objective by permitting users to reproduce copyright-protected materials for the purpose of parody.
Subject(s)
ISBN
9780191876790 (ebook)
Audience Notes
Specialized.
Note
This edition previously issued in print: 2019.
Bibliography Note
Includes bibliographical references and index.
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