BENTUK PERLINDUNGAN HUKUM TERHADAP PEMEGANG HAK TERKAIT (NEIGHBOURING RIGHTS)

ABSTRAKHak terkait adalah hak yang berkaitan dengan hak cipta yang merupakan hak ekslusif bagi pelaku pertunjukan, producer fonogram, atau lembaga penyiaran. Berdasarkan pengertian hak terkait tersebut maka dapat dipahami bahwa yang merupakan pemilik hak terkait adalah pelaku pertunjukan, produser fonogram (lebih dikenal sebagai produser rekaman), dan lembaga penyiaran. Perlu adanya perlindungan untuk pelaku karena pelaku pertunjukan memiliki hak moral dan hak ekonomi yang terdapat pada pasal 23 UUHC. Yang memuat pada pelaku pertunjukan yang tidak dapat dihilang atau tidak dapat dihapus dengan alasan apapun. Namun pada prakteknya seringkali hak terkait ini dikesampingkan, karena lingkup perlindungan tidak hanya mencakup hak ekonomi dan hak moral. Permasalahan diatas menimbulkan isi hukum bentuk perlindungan terhadap hak terkait menurut undang-undang Hak Cipta dan perolehan Hak Terkait dalam Hak Cipta Isu hukum ini diteliti dengan menggunakan metode dengan tipe penelitian Normatif.Bentuk pelindungan Hukum terhadap Hak Terkait menurut Undang-Undang Hak Cipta terdiri dari 2 (dua) yaitu, perlindungn hukum preventif dan perlindungan hukum represif. Perolehan hak terkait dalam UUHC yaitu hak moral dan hak ekonomis. Hak moral pelaku pertunjukan merupakan hak yang melekat pada pelaku pertunjukan yang tidak dapat dihilangkan atau tidak dapat dihapus dengan alasan apapun walaupun hak terkait telah dialihkan. Hak Ekonomi Pelaku Pertunjukan adalah suatu hak yang diberikan oleh Undang-undang secara eksklusif kepada Pencipta untuk untuk memanfaatkan keuntungan suatu ciptaan yang biasanya berupa publikasi suatu salinan ciptaan atau fonogram supaya dapat tersedia untuk publik dalam jumlah tertentu. Kata Kunci : Perlindungan, Hak Terkait, Hak Moral, Hak Ekonomi AbstractRelated rights are rights relating to copyright which are exclusive rights for performers, producer phonograms, or broadcasters. Based on the understanding of related rights, it can be understood that those who are related rights holders are performers, phonogram producers (better known as record producers), and broadcasting institutions. There needs to be protection for the perpetrators because the performers have the moral rights and economic rights contained in article 23 of UUHC. Which includes the performers who cannot be lost or cannot be removed for any reason. But in practice often these related rights are ruled out, because the scope of protection does not only cover economic rights and moral rights. The above issues give rise to the contents of the law in the form of protection of related rights according to the Copyright law and the acquisition of Related Rights in Copyright This legal issue is examined using methods with normative research types.The form of legal protection against Related Rights according to the Copyright Act consists of 2 (two), namely, preventive legal protection and repressive legal protection. The acquisition of related rights in the UUHC is moral rights and economic rights. The moral rights of performers are the rights inherent in the performers who cannot be removed or cannot be removed for any reason even though the related rights have been transferred. The Economic Rights of Performers is a right granted by the Law exclusively to the Creator to utilize the benefits of a work which is usually in the form of the publication of a copy of a work or phonogram so that it can be available to the public in a certain amount. Keywords: Protection, Related Rights, Moral Rights, Economic Rights

LAW IN FUTURE: INTELLECTUAL PROPERTY, INNOVATION, INTERNET

Concepts of law development in new technologies environment, international treaties and national legislation on copyright, neighbouring rights, industrial property law, means of individualization are analyzed. Issues of security and human rights on the Internet, the development of the digital economy and high-tech business, judicial and business practices are investigated. For researchers, professors, graduate students, students, practicing lawyers.

Protecting Copyrights and Neighbouring Rights in the Music Industry in Southern Africa: A Need for Regulatory Convergence

This article compares the copyright laws of Botswana, Lesotho, Mozambique, South Africa, Swaziland and Zimbabwe governing music as against the Berne Convention with a view to determine similarities which are necessary in the Internet age. The findings point to divergence in the standards of protection, thereby calling for harmonisation of laws in the Southern African region. In addition, the article recommends the ratification of the WIPO Internet treaties to respond to the new forms of infringement posed by the advent of the Internet and advancements in technology.

2. Introduction to copyright

This chapter provides an introduction to copyright and the history and functions of copyright law, as well as international and European trends and developments that have influenced copyright law in the UK. It first considers ‘author’s rights’ and ‘neighbouring rights’ before turning to justifications that have been put forward for copyright, with particular reference to arguments invoking natural rights, rewards and incentives, neoliberal economics, and the ‘democratic paradigm’. The chapter also examines the seven significant treaties that have influenced British copyright law as well as European directives that have had an important and growing impact on British copyright law, including the Software Directive, the Related Rights Directive, and the Cable and Satellite Directive.

THE DICHOTOMY BETWEEN SIGNAL AND CONTENT AS BASIS OF BROADCAST COPYRIGHT: A KENYAN AND SOUTH AFRICAN PERSPECTIVE

The concept of broadcast copyright is one of the most controversial and non-felicitous subjects, both at national and transnational levels. Most municipal copyright laws and relevant international instruments merely provide that broadcasting organizations shall enjoy protection over their broadcasts and programme-carrying signals. Some of those international instruments include The Rome Convention for the Protection of Performers, Producers of Phonograms and Broadcasting Organizations of 1961 (hereinafter “the Rome Convention”). Article 13 thereof grants specific exclusive rights against certain activities in relation to the broadcasts of broadcasting organizations. Additionally, Article 1 of the Rome Convention guarantees that its exercise and implementation shall leave intact and in no way affect the protection of copyright in literary and artistic works. The Agreement on Trade-Related Aspects of Intellectual Property Rights (hereinafter “the TRIPs Agreement”) of 1994 follows the model of the Rome Convention, and under Article 14 (3) grants broadcasting organizations the same neighbouring rights as the latter does. In both instruments, the object of protection in a broadcast or broadcasts was never defined. The Convention Relating to the Distribution of Programme-Carrying Signals Transmitted by Satellite (hereinafter “the Satellite Convention”) of 1974 does not grant broadcasting organizations any specific right but obliges Contracting Parties to prevent unauthorized distribution on or from their territories of any programme-carrying signal by any distributor for whom the signal emitted to or passing through the satellite is not intended. The protection conferred upon the broadcasting organizations under the above international instruments are replicated in the copyright laws of Kenya and South Africa without clarifying upon the property and the scope of protection of a broadcast. The failure to specifically define the subject matter of protection in broadcast copyright as well as its outer boundaries forms the genesis of the current controversy. Amid this controversy, this article examines two emerging global approaches around which broadcast copyright revolves, namely the content or rights-based approach, and the signal-based approach. Drawing from the two approaches, the article examines the extent to which they apply to Kenya and South Africa.