RESTRICTED
WORLD TRADE IP/C/W/29
18July1996
ORGANIZATION(96-2826)
Original: English Council forTrade-Related Aspects of
Intellectual Property Rights
REVIEW OFLEGISLATION ONCOPYRIGHT AND RELATED RIGHTS
Replies from Australia toquestions posed bytheUnited States1
andtheEuropean Communities andtheirMember States2
Thefollowingcommunication,dated10July1996,hasbeenreceivedfromthePermanentMission
ofAustralia.
_______________
1IP/C/W/25
2IP/C/W/26IP/C/W/29
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REPLIES TOQUESTIONS POSED BYTHE UNITED STATES
1. Please explain whether andhowAustralian lawprovides protection forworks, phonograms
andperformances fromother WTO Members andwhether andhowitdoessoonthebasis ofnational
treatment asrequired byTRIPS Article 3(generally withrespect toallcopyright andneighbouring
rights) andArticle 9.1(incorporating Berne Article 5(1)).
Rights aregranted tonationals ofWTO countries under theAustralian copyright legislation
totheextent oftheobligations inArticles 3and9oftheTRIPS Agreement.
TheCopyright Act1968(theAct)operates togrant rights directly where there isaconnection
withAustralia (through nationality, residence, publication orplace ofperformance orbroadcast -see
Sections 32,89,90,91and92).
PartVIIIoftheActprovides fortheapplication oftheActtoforeign nationals andresidents
andinrelation topublication, performance orbroadcasts made inforeign countries. Itdoesthisby
providing (inSections 184and185)(except inrelation toperformers, provision forwhich isinPartXIA)
forregulations tobemade applying theAct,infullorinpart,toforeign nationals, etc.where the
countries concerned aremembers ofatreaty towhich Australia isalsoamember orwhere there is,
orexpected shortly tobe,broadly reciprocal protection ofAustralian protected works, etc.
Regulations made pursuant tothatpower, theCopyright (International Protection) Regulations
(theCIPRegulations), wereamended twice in1995toextend protection inrelation toWTO Member
countries.
Thebasicregulationforworks,soundrecordingsandcinematographicfilms(thisincludesvideos)
isRegulation 4.Itextends protection under theActtoworks, sound recordings andfilms ofresidents,
nationals andcorporations ofcountries named intherelevant Parts ofSchedule 1and,asrelevant,
topublication inanyofthose countries. Following amendments totheCIPRegulations inApril 1995
(Statutory RuleNo.67of1995) Regulation 4nowrefers tocountries listed inParts I,II,III,IVand
VofSchedule 1.
Countries listed inPartIofSchedule 1areMember countries oftheBerne Convention.
Countries inPartIIarecountries thatareMembers oftheUniversal Copyright Convention butnot
theBerne Convention. Countries inPartIIIarecountries thathaveconcluded abilateral copyright
agreement withAustralia. Countries inPartIVareMembers oftheRome Convention. Countries
inPartVareMembers oftheWorld Trade Organization. TheCIPRegulations were amended in
December 1995 toupdate thelistsinthevarious Parts ofSchedule 1.Thisupdating iscarried out
periodically. Regulation 4provides nolimitation onnational treatment butthere aresome limits in
other regulations (astowhich seebelow).
Similar provisions tothose inSections 184and185oftheActinrelation toworks, films and
sound recordings arefound inSection 248U andSection 248V oftheActinrelation toperformances.
ByRegulation 4AoftheCIPRegulations, alloftherights granted bytheActtoperformers
areextended toforeign performers having arelevant connection withacountry thatisamember of
theRome Convention. ByRegulation 4B,foreign performers having arelevant connection witha
WTO Member country aregranted therights provided intheActinrelation to:IP/C/W/29
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(a) sound recordings;
(b) sound broadcasts ofliveperformances; and
(c) sound transmissions ofliveperformances tosubscribers todiffusion services.
Limitations onnational treatment
RuleoftheShorter Term
Pursuant toArticle 7(8)oftheBerne Convention, Regulation 5oftheCIPRegulations provides
thatthetermofprotection applicable toworks andfilmsdoesnotexceed thetermapplied inthecountry
oforigin.
Limitation onrights ofsound recordings owners inrelation tothepublic performance andbroadcast
ofsound recordings.
Australia hasentered areservation inrespect ofArticle 12oftheRome Convention.
Regulations 6and7oftheCIPRegulations limitthepublic performance andbroadcast rightinsound
recordings torecordings witharelevant connection withcountries listed inSchedule 3.Countries
inthisSchedule include allRome Convention countries thathavenotmade areservation inrespect
ofArticle 12oftheConvention andothercountries considered tograntadequate rights overbroadcasting
andpublic performance ofsound recordings.
TheTRIPS Agreement doesnotrequire thegrant ofsuchrights andArticle 3provides inter
aliathat"Inrespect ofperformers, producers ofphonograms andbroadcasting organizations, this
obligation onlyapplies inrespect oftherights under thisAgreement".
2. Does Australia apply theruleoftheshorter termtophonograms andperformances fromother
WTO Members? Ifso,please explain howyoujustify suchaction under TRIPS Article 4.
Australia doesnotapply aruleoftheshorter terminrespect ofphonograms orperformances.
Australia reserves itsposition onwhether itmaydosointhefuture.
TRIPS Article 4provides interaliathat:
"Exempted form thisobligation areanyadvantage, favour, privilege orimmunity
accorded byaMember:
(a) ...;
(b) granted inaccordance withtheprovisions oftheBerne Convention (1971) or
theRome Convention authority thatthetreatment accorded beafunction not
ofnational treatment butoftreatment accorded inanother country;
(c) inrespect oftherights ofperformers, producers ofphonograms and
broadcasting organizations notprovided under thisAgreement."
Australia isoftheviewthatthese provisions inArticle 4aredirected towards theseprovisions
inpre-existing conventions permitting adeparture from national treatment.IP/C/W/29
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3. Please explain whether andhowAustralia protects against direct andindirect reproduction
ofphonograms -including bydigital transmission inthecontext ofsubscription orinteractive services .
TheActexpressly makes direct orindirect reproduction ofphonograms aninfringement of
copyright inthesound recording.
Indirect reproduction extends tocopies made from afree-to-air broadcast andmade from a
paycable TVprogram oracomputer bulletin board orbyaccessing subscription orinteractive services.
Theperson responsible fortheunauthorized reproduction isliable forinfringement.
Therighttomake acopyofasound recording isincluded asoneoftheexclusive rights of
owners ofcopyright insound recordings under Section 85oftheAustralian Act.
Section 10(3)(c) oftheAct(themaindefinitions andinterpretation provision intheAct)provides
that"areference toacopyofasound recording shallbereadasareference toarecord embodying
asound recording orasubstantial partofasound recording being arecord derived directly orindirectly
from arecord produced upon themaking ofasound recording" (emphasis added).
"[R]ecord" isdefined inSection 10(1) tomean a"disc, tape, paper orother device inwhich
sounds areembodies".
"[S]ound recording" isdefined inSection 10(1) tomean "theaggregate ofsounds embodied
inarecord".
Section 13(2) provides, interalia,thattheexclusive rightgranted under theActistoberead
asincluding arighttoauthorise aperson todowhatever isincluded within theright.
Apersonwhomakesanunauthorizedcopyisliableforinfringement(Section101).Additionally,
anyperson orbody thatsanctions, approves orcountenances aninfringing actinAustralia willalso
beliable ashaving authorized theinfringement (also Section 101). Thismayinclude thegiving of
permission ortheextending ofaninvitation todotheactinquestion. Such permission orinvitation
maybeexpress orimplied fromthecircumstances (University ofNSWvMoorehouse (1975) 133CLR 1
perJustice Jacobs atp.20).
Thequestion ofauthorization depends ineachinstance onacareful examination ofthefacts.
Thusitisnotpossible tosayingeneral thataperson responsible formaking sound recordings available
fordownloading ortransmission willbeliable forauthorizing infringement byreproduction.
4. PleaseexplainwhetheranhowAustraliaprovidesfullretroactiveprotectiontoworks,phonograms
andperformances fromother WTO Members, asrequired byTRIPS Articles 9.1,14.6and70.2, each
ofwhich incorporate byreference orrelyupon Berne Article 18.Please givethedatebacktowhich
suchprotection extends inrespect toeachcategory ofsubject matter .
Subject tonon-revival ofexpired copyright (Section 210) andother transitional aspects,
Section 207oftheActprovides thattheActapplies inrelation tothings inexistence before the
commencement oftheAct(on1May1969) inlikemanner asitapplies tothings coming intoexistence
afterthecommencement oftheAct.IP/C/W/29
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Theduration oftermofthevarious protected subject matter issetoutinthefollowing table?
Section Subject Matter Period
Section 33(2) Literary, dramatic, musical or
artistic works (other than
photographs)50years pma
Section 33(3) Literary, dramatic ormusical
works which areunpublished,
havenotbeenbroadcast or
performed inpublic and
records ofwhich havenot
beenoffered forsaletothe
public atthetimeofthe
author 'sdeath50years aftertheyearofthe
firstofthese events tooccur;
otherwise indefinite
(publication ofanauthorized
adaptation istreated as
publication oftheoriginal
work, etc.)
Section 33(5) Engravings which are
unpublished atthetimeofthe
author 'sdeath50years aftertheyearof
firstpublication; otherwise
indefinite
Section 33(6) photographs 50years aftertheyearof
firstpublication; otherwise
indefinite
Section 212 photographs taken before
1May199650years aftertheexpiration
ofthecalendar yearinwhich
thephotograph wastaken
Section 93 Sound recordings 50years aftertheyearof
firstpublication; indefinite
ifunpublished
Section 220(3)(b) Sound recordings made
before 1May196950years aftertheyearin
which made
Section 94 Cinematographic films 50years afteryearoffirst
publication; otherwise
indefinite
Section 95 Television andsound
broadcasts50years afteryearinwhich
broadcast wasmade
Section 80 Works ofjointauthorship asinSection 33except that
thereferences totheauthor
aretobereadasreferences
totheauthor whodiedlast
Section 34 Anonymous and
pseudonymous works 50
years afteryearoffirst
publicationIP/C/W/29
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Asregards extension toWTO Members -seeanswer toQuestion 1.
Inrespect ofperformers, retroactive protection against making andcommercially dealing with
unauthorized sound recordings isdealtwithinSection 248QA. InSection 248QA(1) thesection is
expressed toapply toanactdoneinAustralia onorafterthecommencement ofPart4oftheCopyright
(WorldTradeOrganizationAmendments)Act1994(Copyright(WTOA)Act)inrelationtoaperformance
given atanytimebefore thatdate. Part4oftheCopyright (WTOA) Actcommenced on1July1995.
Various prohibitions arelisted inSection 248QA. These are:
- tohaveduring theprotection period possession ofaplateorrecording equipment that
aperson "knows orought reasonable toknow istobeusedformaking acopyofan
unauthorized sound recording oftheperformance" (i.e., abootleg recording);
- during theprotection period toknowingly make acopyoftheunauthorized recording;
and
- during theprotection period, insummary, tocommercially dealwithanunauthorized
recording (including importation foracommercial purpose).
Theprotection period isdefined, pursuant toArticle 14(5) ofTRIPS, inSection 248CA(2)
as50years from thecalendar yearinwhich theperformance wasgiven.
Penalties forbreach ofSection 248QA aresetoutinSections 248R(3A) and(3B).
Prospective protection isgranted intheAct(Section 248F) forperformances given afterthe
commencement ofPartXIAoftheAct.
Protection isextended toWTO nationals andtoperformances inWTO countries viathe
mechanism described inanswer toQuestion 1.Protection applies against actsconstituting unauthorized
usesofperformances undertaken onorafter1July1995 andearlier insome cases.
5. Please explain whether andhowAustralian lawprotects compilations ofdataorother materials
including compilations ofsounds, images andaudio-visual works thatcomprise "multimedia works"
asrequired byTRIPS -Article 10.2.
Article 10(2) ofTRIPS reads:
"Compilations ofdataorother material whether inmachine readable orother form, which
byreason oftheselection orarrangement oftheircontents constitute intellectual creations shall
beprotected assuch. Such protection, which shallnotextend tothedataormaterial itself,
shallbewithout prejudice toanycopyright subsisting inthedataormaterial itself."
Sofarascompilationsareconcerned,theActprovides,inSection10,thatliteraryworkincludes:
(a) atable orcompilation expressed inwords, figures orsymbols (whether ornotina
visible form); and
(b) acomputer program orcompilation ofcomputer programs.
Thisissupported byextensive caselawevenprior totheinsertion oftherelevant definition
involving, forexample, births anddeaths columns innewspapers andalistoffigures usedina"bingo"IP/C/W/29
Page7
newspaper game. Acontemporaneous example isoffered byarecent newspaper report. On
24June1996, itwasreported thatindustry analyst Gartner Group Pacific paid$30,000 pluslegalcosts
toanother company incompensation fortheunauthorized usebyGartner oftheother firm'sdatabase
obtained byGartner from acustomer oftheother firm.
TheActcurrently extends protection toallforms oforiginal works stored incomputer memory.
(SeeSection 22anddefinition of"material form" inSection 10(1).)
Insofarasamultimedia production consists ofmoving pictures andaccompanying recorded
sounds, itseems tocome within thedefinition ofacinematographic filmwhere itisdefined as:
"...theaggregate ofthevisual images embodied inanarticle orthing soastobecapable by
theuseofthearticle orthing:
(a) ofbeing shown asamoving picture; or
(b) ofbeing embodied inanother article orthing bytheuseofwhich itcanbe
shown;
andincludes theaggregate ofsounds embodied inasound tractassociated withsuchvisual
images."
Inits1995 Report onComputer Software Protection ,theCopyright LawReview Committee
(CLRC) commented (atparagraph 14.84):
"Itdoesnotseem totheCommittee thattheinclusion oftextandstillimages inamultimedia
production serves todeprive itofprotection, asacinematographic film, anymore thandoes
theinclusion ofcredits orother narrative, textorstillimages sometimes seeninmovies."
6. Please indicate whether thedefinition of"Adaptation" inSection 10oftheAustralian Copyright
statute covers alltypesofadaptation, asrequired byBerne Article 12,orjustthose thatarespecifically
listed.
Thedefinition ofadaptation Section 10(1) oftheAct,which isexhaustive, doesnotpurport
tocover allpossible adaptations towhich Article 12oftheBerne Convention mayapply. However,
thescope ofwhatconstitutes "reproduction" and"copy" under theAct,coupled withSection 14(2),
which provides inpartthat"reproduction ...orcopyofawork shallbereadasincluding areference
toareproduction ...orcopy ofasubstantial partofthework", isconsidered capable ofcovering
adaptations contemplated byArticle 12thatareoutside thedefinition of"adaptation" inSection 10(1).
Inrelation tocinematographic films, Section 14(1) provides inpartthat"thereference tothedoing
ofanactinrelation to...other subject-matter shallbereadasincluding thedoing ofthatactinrelation
toasubstantial partofthe...other subject-matter". Inrelation toartistic works, reference ismade
toSection 21(3) which deems reproduction toinclude three-dimensional versions oftwo-dimensional
works andviceversa.IP/C/W/29
Page8
7. Please explain howthescope ofprotection granted tocinematographic works under Section 86
oftheAustralian statute isconsistent withBerne Article 2(1)and14bis,asincorporated through TRIPS
Article 9.1,given thatthescope ofrights suchworks enjoy doesnotappear tobecoextensive withthe
rights inliterary andartistic works generally. Forexample, theredoesnotappear tobeanadaptation
right provided .
Section 31oftheActprovides thatunless acontrary intention appears copyright inrelation
toaliterary, dramatic ormusical work istherightto:
- reproduce thework inamaterial form;
- publish thework;
- perform thework;
- broadcast thework;
- cause thework tobetransmitted tosubscribers toadiffusion service;
- make anadaptation ofthework;
- toreproduce, publish, perform, broadcast orcause anadaptation tobetransmitted to
subscribers toadiffusion service.
Section 86oftheActliststherights incinematographic films. That listofrights in
cinematographic filmsdoesnotexpressly include arighttopublish afilmorarighttomake anadaptation
ofafilm.
Article 14bis(1)oftheBerne Convention states interaliathattheowner ofcopyright ina
cinematographic work shallenjoy thesamerights astheauthor ofanoriginal work, including therights
referred toinArticle 14.
Although thewords "shall enjoy thesame rights astheauthor oftheoriginal work" arestated
without qualification, ithasbeentheviewinAustralia thattherights referred tomayonlybetherights
required bytheConvention tobeconferred onauthors oforiginal works. Astherights sorequired
bytheConvention donotinclude arightofpublication, Australia doesnotregard itself asbound to
provide sucharighttoowners ofcopyright incinematographic films.
Astoarightofadaptation, seealsotheanswer toQuestion 6.Thereproduction rightunder
theActwould enable themaker ofafilmtotakeaction against theunauthorized production ofanedited
version ofthefilmorasubstantial partofit,whether theediting consisted inomitting some parts,
changing thesequence ofthepictures, dubbing anewsoundtrack oradding subtitles.IP/C/W/29
Page9
8. Please explain howtheexceptions provided inSections 40(3), 45,46,89(3), 110and199of
theAustralian Copyright statute comply withBerne Article 9(2)andTRIPS Article 13,which require
limitations andexceptions toexclusive rights tobelimited tocertain special cases which donotconflict
withanormal exploitation ofthework anddonotunreasonable prejudice thelegitimate interests of
therightholder.
Section 40(3)
Section 40(3) oftheActprovides thatthecopying ofanarticle inaperiodical publication or,
inanyother case, notmore thanareasonable portion, forthepurposes ofresearch orstudy istobe
taken tobeafairdealing thatdoesnotconstitute aninfringement ofcopyright.
Subsection 40(4) provides thatonlyifnomore than1article intheperiodical publication is
copied canthecopying permitted bySection 40(3) betreated asafairdealing.
InAustralia, reasonably clearandstrict provisions apply inregard toexceptions toexclusive
rights. Byandlargeclearguidance isthusprovided tothecourts astowhatwillconstitute anexception
totheexclusive rightofreproduction.
Subsections 40(3) and40(4) aretheapplication bythelegislature ofaviewabout whatcomplies
withpermitted exceptions under Berne. Itistobenoted thattheexception islimited tocopying for
research orstudy (a"special case") andnotforgeneral amusement orinformation, isdirected tolimited
copying (only 1article perperiodical orareasonable portion ofother works) and,unlike, forexample
unremunerated commercial copying ofextracts, islimited toindividual use. (SeeDeGaris &Ano
vNeville Jeffress (1990) AIPC 90-678.)
What constitutes a"reasonable proportion" ispartly defined inSection 10(2) which provides,
interalia,thatitwillbea"reasonable proportion tocopynomore than10%ofthepages intheedition
being copied ornomore than1chapter ofawork divided intochapters".
These restrictions ensure thattheusecomes within theterms ofArticle 9(2)oftheBerne
Convention andArticle 13ofTRIPS:
- theuseisaspecial case;
- theuseisrestricted tolimited copying -notthewhole work; and
- theusedoesnot,therefore, unreasonable interfere withanormal exploitation ofthe
work.
Section 45
Section 45exempts from infringement reading orrecitation inpublic ortheinclusion ina
broadcast ofareading orrecitation ofan"extract ofreasonable length" ofapublished literary ordramatic
work, "ifasufficient acknowledgement ofthework ismade".
Theprovision isconsidered tobepermitted byBerne Article 10(1), andthatArticle 9(2)is
notapplicable because reproduction isnotbeing dealtwithbySection 45.Asreading orrecitation
ofanextract ofreasonable length would notnowadays beconsidered toconflict withthenormal
exploitation ofapublished literary ordramatic work, theprovision isconsidered tobecompatible with
TRIPS Article 13. Itseems significant thattheAustralian Government hasnorecollection of
representationsfromauthorsorpublishers'representativeorganizationsexpressingconcernatSection45.IP/C/W/29
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Thissuggests totheGovernment thatSection 45islittlerelied onor,ifitisrelied on,itisnotseen
byauthors orpublishers asprejudicial totheirinterests.
Section 46
Thisprovision provides anexception toinfringement byperformance "inpublic" ofliterary
dramatic ormusical works, oradaptations ofthem bytheuseofwireless telegraphy apparatus (i.e.,
radio orTVbroadcasts) ortheuseofarecord atpremises where persons reside orsleep. Theexception
extends toperformances where guests oftheinmates ofthese establishments arepresent.
Bytheterms ofSection 27apublic performance extends toanymode ofvisual oraural
presentation including bytheoperation ofaradio ortelevision receiver bywhich theworks areseen
orheard. Theowner ofthepremises whohasconsented tosuchuseisdeemed tobetheperson causing
theperformance tohavebeengiven. Thus, forexample, because Section 46isconfined toperformances
"exclusively forresidents orinmates ofthepremises" andtheirguests, itisaninfringement where
works areperformed byplaying atelevision orradio setinapublic bar.
Itmaybedoubted thatperformances forresidents orinmates isaperformance "inpublic" in
terms oftheconvention ortreaty meaning. Clearly, itisnotaperformance "inpublic" forthemembers
ofafamily andtheirfriends toviewatelevision orlisten together, toaradio broadcast.
Thatis,theprovisions ofSection 46could beconsidered tomake anoffsetting correction to
theover-protection thatwould otherwise result fromthedeeming provision inSection 27thatwould
otherwise fixliability forusebroadly analogous toanindividual orfamily usemerely because that
usewasinapremises andthereceiver usedwassupplied byorwiththeconsent oftheowner.
Under theAustralian lawasitcurrently stands, therelevant collecting society inAustralia,
theAustralasian Performing Right Association, isabletooperate effectively tocollect performing right
feesfromaverywidevariety ofestablishments, including hotels, barsandother places ofpublic access,
where public performances occur. Thecircumstances described inSection 46arelimited toaspecial
category ofcases sothat,byreason ofitsnarrow compass, thesection doesnotresult inconflict with
anormal exploitation oftheworks usedanddoesnotunreasonable prejudice therightholders 'interests.
Section 89(3)
Thissubsection provides that,inaddition toAustralian nationality orresidence ofthemaker
ofasound recording orAustralia being theplace ofmaking ofarecording, acriterion forextending
copyright protection toasound recording isfirstpublication inAustralia. Thesubsection isthusnot
anexception toexclusive rights.
Section 106
Thissubsection provides foranexception totherighttocause asound recording tobeheard
inpublic, being oneoftherights conferred bytheActonowners ofcopyright insound recordings.
Sound recordings arenotprotected bytheBerne Convention. Therighttocause asound recording
tobeheard inpublic isnotoneoftheexclusive rights required byTRIPS tobeconferred onowners
ofcopyright intherecordings, anditisconsidered thatArticle 13would havenoapplication.
Section 110
Thissectionmakesparticularprovisionrelatingtooldcinematographicfilms.Subsection110(1)
effectively provides fortheexpiry ofthepublic exhibition rightinafilmofitems ofnews attheendIP/C/W/29
Page11
of50years aftertheevents filmed. Thisdeeming applies onlyforthepurposes ofcausing thefilm
tobeseenorheard, notforreproduction, broadcasting ortransmission viaacable diffusion service.
Totheextend thatthiscanbesaidtobeanexception torights, itsatisfies thecriterion ofbeing aspecial
casethatdoesnotunreasonably interfere withthelegitimate interests oftherightholder because of
theveryspecific limits ontheexception.
Subsection110(2)appliesasimilarexemptiontothatinSection110(1)asregardsanyunderlying
works inoldfilms inwhich thecopyright hasexpired. Itmakes anexception totheperformance right
inthose works inthecaseofpublic showing ofthefilms aftertheyhavefallen intothepublic domain.
Thisisclearly averylimited derogation fromthetotalrange ofpossible waysofperforming theworks
concerned, andisconsidered nottoconflict withanormal exploitation oftheworks orunreasonably
interfere withthelegitimate interests ofthecopyright owners.
Subsection 110(3) clarifies thattheuseofarecord which embodies thesounds usedinafilm
soundtrack, butisnotderived fromthesoundtrack, doesnotinfringe copyright inthefilm. Thismerely
clarifies thelawandthequestion oftheapplication ofArticle 13ofTRIPS doesnotarise.
Section 199
Subsection 199(1) isacounterpart provision toSection 45regarding broadcasts ofreadings
orrecitations ofliterary works. Itprovides anexemption frominfringement inthecaseofanypublic
performance resulting fromthereception ofthebroadcast. Because itislimited tocircumstances where
theinclusion ofthereading orrecitation isnotaninfringement, itcanbeseenaslargely coextensive
withSection 45andcompatible withBerne andTRIPS forthereasons given intheanswer onSection 45.
Subsection 199(2) isconsidered tobenotgoverned byBerne orTRIPS forthereasons given
intheanswer onSection 106
Subsection 199(3) provides thatwhere aperson plays atelevision setinpublic, theperson is
tobetreated asifheorshehadalicence from thefilmcopyright owner forthatpublic performance
ofthefilm. Theplaying oftelevision setsinpublic isnotconsidered asubstantial exercise oftheright
tocause films usedinTVbroadcasts tobeseenorheard inpublic.
Subsection 199(4) deals withretransmission bywireofabroadcast. Because prior to1995
nosubstantialcommercialcabletransmissionserviceswereinoperation,thesubsectionhadnosubstantial
practical application. Following thelicensing andcommencement ofmajor commercial services, the
Government isactively reviewing theappropriateness ofSection 199(4).
Subsections 199(5) to(7)amplify orqualify theoperation ofSection 199(1) to(4).
9. Please explain thecriminal andcivilremedies available forcopyright infringement andthe
extent towhich theyfullyimplement theobligations inTRIPS Articles 41,45,50and61.Intheresponse
please specify, interaliawhether these remedies mayinclude seizure, forfeiture anddestruction of
infringing articles andequipment usedtomake theinfringing articles, asrequired byArticles 46and
61,andthemanner inwhich thegrant ofcivilprovisional relief isprovided inaccordance withTRIPS
Article 50.
Criminal andcivilremedies areavailable under Sections 115,116,133,133A, 248J, 248Q,
248QA, 248R and248T. These provisions permit actions fordamages, injunctions, account ofprofits
andconversion ordetention ofinfringing copies. Under theprovisions fornon-criminal enforcement,
delivery upoftheinfringing items maybeordered. Under thecriminal provisions delivery upand
destruction maybeordered.IP/C/W/29
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Interim relief including interim injunctions areavailable according towell-established court
andcommon lawrules. Additionally, theAustralian courts haverecognized therightofplaintiffs to
Anton Piller Orders andtoMareva Injunctions inappropriate cases.
REPLIES TOQUESTIONS POSED BYTHE EUROPEAN COMMUNITIES
AND THEIR MEMBER STATES
1. IsAustralian copyright legislation tobeinterpreted asconferring protection as"original works"
totranslations, adaptations andarrangements andother alterations ofliterary aswellasartistic works
(Article 9(1)oftheTRIPS Agreement inconjunction withArticle 2(3)oftheBerne Convention)?
Australia doesprotect adaptations ofliterary andartistic works andrights areconferred on
themakers ofsuchadaptations andarrangements, etc.
Thisissoeventhough thelanguage oftheCopyright Act1968 (theAct)doesnotmake this
plainonitsface. Thisisacknowledged andaccepted inthetextbooks oncopyright inAustralia. For
example, inTheLawofIntellectual Property ,S.Ricketson (Law Book Co.1984) itisstated (atp.108)
thatatranslator mayhavecopyright inatranslation onthebasis thatthedegree ofskillandlabour
required toundertake thetranslation issufficient tosatisfy therequirement oforiginality. Ricketson
alsonotes thatithasalways beenheldthatanabridgment ofanother work mayitself beanoriginal
work iftherehasbeenasufficient application ofknowledge, judgment, skillorlabour sothattheresult
isanewwork inwhich theideasandsense ofthefirstwork arepreserved butwithin asmaller compass
rendering itlessexpensive andmore convenient bothtothetimeanduseofthereader.
Thisprinciple applies generally toarrangements andtranscriptions. Thusithasbeenheldthat
apiano arrangement ofanopera isprotectable asamusical work initsownrightandthere issimilar
caselawregarding piano arrangements ofunprotected material aswellasprotected orchestral scores.
2. HasAustralia implemented ordoesitintend toimplement Section 185oftheCopyright Act
1968 soastodenycopyright protection toworks theauthor ofwhich isanational ofaWTO Member
onthegrounds thatanother WTO Member doesnotprovide adequate protection toAustralian works
(Article 9(1)oftheTRIPS Agreement inconjunction withArticle 3,Berne Convention, Article 3(1)
TRIPS Agreement)?
Noregulations havebeenmade under Section 185inrespect ofaWTO Member country, nor
doestheAustralianGovernmentpresentlycontemplaterecommendingthemakingofanysuchregulations.
3. DoesAustralia grant protection toauthors ofcinematographic works where themakers ofsuch
works havetheirheadquarters orhabitual residence inaWTOMember country butarenotincorporated
under thelawofaWTO Member country (Article 9(1)oftheTRIPS Agreement inconjunction with
Article 4(a)oftheBerne Convention)?
Regulation 4oftheCopyright (International Protection) Regulations (CIPRegulations) protects
theworks, films andsound recordings ofcorporations onthebasisofincorporation inaWTO country.
Itisconsidered thatthisgivespractical effect totherequirements ofArticle 4(a)oftheBerne Convention.
BySection89,copyrightsubsistsinacinematographicfilmifanyoneofthreeconditionsapplies:
(a) ifthemaker ofthefilmwasinteraliaanAustralian national, resident, bodycorporate
orprotected person (seedefinition ofqualified person inSection 84); orIP/C/W/29
Page13
(b) ifthefilmwasmade inAustralia; or
(c) iffirstpublication tookplace inAustralia.
ByRegulation 4oftheCIPRegulations theabove provisions apply asifthereferences to
Australia were references toaWTO country.
Accordingly, theonlycircumstance notcovered bytheAustralian provision would appear to
bethose ofafilm:
- thatwasmade byacorporation thatwasnotincorporated inaWTO country, butwhich
nevertheless haditsheadquarters orhabitual residence inaWTO country;
- thatwasmade elsewhere thaninaWTO Member country; and
- thatwasnotfirstpublished inaWTO Member country;
andthecorporation wasthefirstowner ofthecopyright orotherwise acquired therights fromanon-
WTO national oracorporation notincorporated inaWTO Member country. Thelikelihood ofsuch
circumstances isconsidered veryremote.
4. IsRegulation 3oftheCopyright (International Protection) Regulations readtogether with
Regulation 5oftheRegulations tobeinterpreted sothatacountry which isnotaMember oftheWTO,
butwithwhich Australia hasentered intoabilateral copyright protection agreement, istobeconsidered
thecountry oforigin ofawork, evenifitimplies thatthecopyright inthework willhaveashorter
termofprotection thanthatprovided forinArticles 5and7(8)oftheBerne Convention (inconjunction
withArticle 9(1)oftheBerne Convention)?
Australia hasbilateral copyright agreements withSingapore andIndonesia. BothareMembers
oftheWTO andbotharelisted inPartIIIofSchedule 1which liststhecountries withwhich Australia
hasbilateral copyright agreements. Under theprovisions found inRegulation 3oftheCIPRegulations,
where there isasimultaneous publication inacountry listed inPartIIIofSchedule 1andanother
country, thecountry oforigin ofthework orfilmisdeemed tobethecountry inPartIIIofSchedule 1.
Regulation 5oftheCIPRegulations applies theruleoftheshorter terminrelation totheterm
applicable inthecountry oforigin.
Thecombination ofthese regulations doesappear toraiseatleastthetheoretical prospect of
ashorter termapplying toawork orfilmofaBerne orWTO Member country thatwassimultaneously
firstpublished inSingapore orIndonesia. Suchaprospect isconsidered toberemote. Nevertheless,
Australia appreciates theEC'sdrawing thismatter toattention andwillconsider whether anyremedial
action isrequired.
5. IsAustralian legislation tobeinterpreted asconferring upontheauthors ofartistic works which
incorporate literary works theexclusive rightofmaking orauthorizing thetranslation oftheirworks
(Article 9(1)oftheTRIPS Agreement inconjunction withArticle 8oftheBerne Convention)?
Anyunauthorized substantial useofaliterary work incorporated inanartistic work would,
ofcourse, breach therightofadaptation oftheliterary work (Section 31(1)(a)(vi) anddefinition of
adaptation inSection 10).Although therightofreproduction ofanartistic work doesnotexpressly
includetherightoftranslation,anysubstantialreproductionofanartisticworkwillinfringethecopyright
inthatwork (seeSection 14). Similarly, anyunauthorized reproduction ortranslation ofawork orIP/C/W/29
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asubstantial portion ofaliterary work incorporated inanartistic work willinfringe thecopyright in
theliterary work (Section 14).Whether thereisasubstantial reproduction oftheartistic work, merely
bythetranslation ofcertain writing included inandaspartofanartistic work isnotamatter that,
toourknowledge, hasyetcome before theAustralian courts.
6. Does Australia protect literary, dramatic, musical orartistic works embodied inafilmforat
least50years afterthedeath oftheauthor, evenifthecopyright inthefilmconcerned hasexpired
before theendofthisperiod (Article 9(1)oftheTRIPS Agreement inconjunction withArticle 14of
theBerne Convention)?
Yes. However, there isalimited exception, which isconsidered justifiable under Article 13
ofTRIPS, inthecaseofpublic exhibition ofafilmaftertheexpiry ofthecopyright inthefilm(see
Section 110(2)).
7. IsAustralian lawtobeinterpreted asgranting authors ofartistic works therighttoauthorize
thecinematographic adaptation oftheir works ortheadaptation intoanyother artistic form of
cinematographic productions derived from their original artistic work (Article 9(1)oftheTRIPS
Agreement inconjunction withArticle 14oftheBerne Convention)?
Theprovisions ofSection 31andthedefinition ofadaptation Section 10(1) oftheAct,which
isexhaustive, doesnotpurport tocover allpossible adaptations towhich Article 12oftheBerne
Convention mayapply. However, thescope ofwhatconstitutes "reproduction" and"copy" under the
Act,coupled withSection 14(2), which provides inpartthat"reproduction ...orcopyofawork shall
bereadasincluding areference toareproduction ...orcopy ofasubstantial partofthework", is
considered capable ofcovering adaptations contemplated byArticle 12thatarenotspecifically provided
inSection 31orwould falloutside thedefinition of"adaptation" inSection 10(1).
There willbeinfringement ifanother work bears asubstantial similarity orresemblance to
asubstantial partoftheartistic work evenifitdiffers markedly inother respects. Ithasbeenheld
thatfeatures suchaschoice oflightandcolour, perspective orthebalancing offeatures mayrepresent
asubstantial feature oftheoriginal work.
8. IsAustralian legislation tobeinterpreted asproviding fortheprotection oftherightofauthors
ofcinematographic works toauthorize theadaptation oftheirworks (Article 9(1)oftheTRIPS Agreement
inconjunction withArticle 14bisoftheBerne Convention)?
Section 86oftheActliststherights incinematographic films. That listofrights in
cinematographic films doesnotexpressly include arighttomake anadaptation ofafilm.
Article 14bis(1)oftheBerne Convention states interaliathattheowner ofcopyright ina
cinematographic work shallenjoy thesamerights astheauthor ofanoriginal work, including therights
referred toinArticle 14.
Thedefinition ofadaptation Section 10(1) oftheAct,which isexhaustive, doesnotpurport
tocover allpossible adaptations towhich Article 12oftheBerne Convention mayapply. However,
thescope ofwhatconstitutes "reproduction" and"copy" under theAct,coupled withSection 14(2),
which provides inpartthat"reproduction ...orcopyofawork shallbereadasincluding areference
toareproduction ...orcopy ofasubstantial partofthework", isconsidered capable ofcovering
adaptations contemplated byArticle 12thatareoutside thedefinition of"adaptation" inSection 10(1).
Inrelation tocinematographic films, Section 14(1) provides inpartthat"thereference tothedoing
ofanactinrelation to...other subject-matter shallbereadasincluding thedoing ofthatactinrelation
toasubstantial partofthe...other subject-matter".IP/C/W/29
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Thereproduction rightunder theActwould enable theproducer ofafilmtotakeaction against
theunauthorized production ofanedited version ofthefilmorasubstantial partofit,whether the
editingconsistedinomittingsomeparts,changingthesequenceofthepictures,dubbinganewsoundtrack
oradding subtitles.
9. Hastherental ofcinematographic works inAustralia ledtowidespread copying ofsuchworks
which ismaterially impairing theexclusive rightofreproduction ofauthors (Article 11oftheTRIPS
Agreement)?
Totheknowledge oftheAustralian Government rental ofcinematographic works hasnotled
towidespread copying thatismaterially impairing theexclusive right ofreproduction. Australia 's
reported rateofvideo piracy isunderstood tobegenerally regarded aslowbyinternational standards.
10. IsAustralian legislation tobeinterpreted asconferring protection toperformances foraperiod
of50years computed fromtheendofthecalendar yearinwhich theperformance wasgiven, alsoif
thatperformance wasgiven afterthedateofentryintoforceoftheCopyright (World Trade Organization
Amendment) Act(Article 14oftheTRIPS Agreement)?
Yes. Section 248F provides that,except forSection 248QA (which provides forprotection
ofpastperformances inrelation towhich seeanswer toUSQuestion 4),PartXIAoftheAct(dealing
withtheprotection ofperformers) applies toanactdoneonorafterthecommencement ofthePart
inrelation toaperformance given onorafter thatcommencement. PartXIAcommenced on
1October 1989.
Article14ofTRIPSgrants,inourview,rightstoperformerstopreventtheunauthorizedfixation
oftheirperformance inasound recording andtheunauthorized sound broadcast orsound communication
tothepublic oftheirliveperformances.
Section 248CA(2) provides foratermofprotection of50years afterthecalendar yearinwhich
theperformance wasgiven (theprotection period), inrelation toperformances fixedinsound recordings,
thatwere given prior to1July1995 (thecommencement ofPart4oftheCopyright World Trade
Organization Amendment) Act(C(WTOA) Act).
Section 248CA(3) together withSection 248CA(4) apply a50-year protection period inrelation
tosound recordings ofaperformance given since thecommencement ofPartXIA (i.e.since
1October 1989).
Since abroadcast orcable communication tothepublic ofaliveperformance isnecessarily
simultaneous withtheliveperformance itwasnotnecessary toprescribe a50-year termapplicable
totheprohibition onthatactivity -theinfringing conduct must bevirtually simultaneous withthe
performance. Totheextent thatanyterm ofprotection isrelevant tosuchlivetransmissions of
performances itmaybenoted thatbySection 248CA(1) a20-year termisprovided.
Rights aregranted toWTO performers intheCIPRegulations consistent withtheabove view
ofArticle 14ofTRIPS fordetails ofwhich seetheanswer toQuestion 1oftheUnited States ofAmerica.