Fan-Based Production for Computer Games: User-Led Innovation, the ‘Drift of Value’ and Intellectual Property Rights

2005 ◽  
Vol 114 (1) ◽  
pp. 16-29 ◽  
Author(s):  
Sal Humphreys ◽  
Brian Fitzgerald ◽  
John Banks ◽  
Nic Suzor

Fan-based or third party content creation has assumed an integral place in the multi-million dollar computer games industry. The emerging production ecology that involves new kinds of distributed organisations and ad hoc networks epitomises the ‘drift of value’ from producer to consumer and allows us to understand how user-led innovation influences the creative industries. But the ability to control intellectual property rights in content production is critical to the power structures and social dynamic that are being created in this space. Trainz, a train simulation game released by Brisbane developer Auran, which relies heavily on fan-created content for its success, is used as a case study. The licence agreements between Auran and the fan creators are analysed in order to understand how the balance between the commercial and non-commercial is achieved and how the tension between open networks of collaboration and closed structures of commercial competitive environments are negotiated.

2019 ◽  
Vol 3 (1) ◽  
pp. 26
Author(s):  
Sobandi Sobandi

The people’s need for justice through a special court is perceived urgent from time to time. The Commercial Court is an ad-hoc court but its competency has affected the competency of other permanent courts that are already established. The problems need to be answered in this writing regarding the multifunction of Commercial Court. The objectives of the writing, inter alia, to examine the possibility of the Commercial Court has specific rules to restrain its competency. Consequently, there is a need to have a law that specifically limits the competence and the procedural law of the ad-hoc court. The Commercial Court often resolves bankruptcy disputes. It is also used as a solution for the Intellectual Property Rights (IPR) disputes which should be able to enter the criminal domain. It can also be used to solve the Islamic financing issues and other business issues that should be the realm of a permanent judicial institution. The existence of such a rule that limits the competency of the Commercial Court can be a way out of fulfilment of needs of the judiciary to reduce the overlap of court competency among the Indonesian judicial institutions


Author(s):  
Phan The Cong

Creative industries have been seen to become increasingly important to economic well-being, with proponents suggesting that "human creativity is the ultimate economic resource," and that “the industries of the twenty-first century will depend increasingly on the generation of knowledge through creativity and innovation.” The term creative industries, refers to a range of economic activities which are concerned with the generation or exploitation of knowledge and information. Development of creative industries will contribute to the awareness and protection of intellectual property rights and copyrights in the creative industry, in order to meet the WTO’s requirements on intellectual property rights. Government support for creative industries will help create a healthy competitive environment for businesses in the industry. It is important for Vietnam’s businesses to select a proper orientation and gain a suitable position in the global creative economy. The creative service sectors of great strength in Vietnam, which are also in need of investment are: design, art, education, tourism, performing arts, fashion, handicraft, culture, foods, and others. Additionally, empirical investigations in the present study reveal that creative industry indicators have a positive and significant influence on the economy and financial sectors. This study’s findings are highly recommended to government officials, economists, and anyone else working to make strategic decisions to achieve better economic results.


2013 ◽  
Vol 311 ◽  
pp. 305-309
Author(s):  
Yun Shing Chen ◽  
Da Wei Lin ◽  
Yu Lin Hsu ◽  
Pai Ling Chang

Just over twelve years ago, United Nations Educational, Scientific and Cultural Organization (UNESCO) published the Culture, trade and globalization: questions and answers. In the book, the first ever definition of ‘cultural industries’ is applied to ‘those industries that combine the creation, production and commercialization of contents that are intangible and cultural in nature. These contents are typically protected by copyright and they can take the form of goods or services.’ Cultural creations need guiding and checking on, and that is the reason why there is art director or creative director, so-called the ‘gate-keeper’, controlling over the quality of creations. If a gate-keeper builds a safeguard in the cultural creative behavior, lacking the check on the legal protection in the cultural creative industries, and whether the information of cultural industry element has touched on the question of the intellectual property rights infringement, then it will result in a disastrous consequence. This is the topic which the article researches on.


2021 ◽  
Vol 92 ◽  
pp. 03024
Author(s):  
Monika Raková

Research background: The paper is based on a summary and evaluation of previously conducted domestic and international research on the issue of rights and protection of intellectual property. The own research is part of solution of the scientific project VEGA focused on the field of creative industry and is on processing. Purpose of the article: The creative industries are an integral part of any developed economy. In an effort to protect the results of their activities, it is possible to use several options for the protection of intellectual property through intellectual property rights. The article defines the possibilities of protecting the results of creative intellectual activity of its authors at the global level, as well as defining the rights associated with this protection. Methods: In the paper, there are used general methods such as analysis, synthesis, induction and deduction, which allow us a thorough knowledge of the researched issues and allow us to process information from the research. Findings & Value added: The main value added of the article is to map of the situation with intellectual property rights in a global aspect, and thus what rights are used by countries, to what extent they are used in selected countries in comparison with the Slovak Republic. At the same time, the paper also includes an evaluation of what barriers companies of the creative industry consider to be the most important in solving the protection of intellectual property and suggestions on how to eliminate them.


2019 ◽  
Vol 5 (3) ◽  
Author(s):  
Muhammad Danyal Khan ◽  
Rao Imran Habib ◽  
Attaullah Mehmood ◽  
Abdul Basit

This paper examines the relationship between enforcement of intellectual property rights and growth of the creative economy. Intellectual property based creative industries highly contribute towards national economy through trade, value addition, and tax revenues. Size of the global creative economy has almost doubled during 2015 leading it to the figure of $509 billion that was $205 billion during year 2002. It is worth noting that major player in global volume of creative economy are South Asian countries such as China, Hong Kong, Malaysia, India, and Taiwan. Major creative industries include software, pharmaceutical, music, cinema, fashion, design, art, culture, photography, publishing, and other related creative works. Creative industries need support of effective enforcement from intellectual property rights to pay incentive to a creator for its investment of expertise, labour, and finances. In absence of effective intellectual property enforcement and violation of intellectual property rights, innovation may go slow that affects growth of the creative economy. This research highlights potentials of growth of the creative economies in Pakistan in terms of intellectual property rights.


2010 ◽  
Vol 14 (3) ◽  
pp. 59-72 ◽  
Author(s):  
Laurent Bach1 ◽  
Patrick Cohendet2 ◽  
Julien Pénin3 ◽  
Laurent Simon4

Intellectual property rights (IPR) play a strategic role in creative industries. Defined as a collective process, creativity involves actors with contradictory IPR needs. This leads to an “IPR dilemna”. Firms are looking into appropriating creative work and prevent imitation; whereas creative communities need a weak IPR to combine past work and generate novelty. It becomes problematic for individuals to find themselves between these two. As a result, actors are developing specific IPR arrangements (e.g. open source and creative commons practices) to preserve the balance between appropriation and openness allowing creation. Two creative industries are used as illustrations: music and video-games.


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