TV FORMAT PROTECTION THROUGH COPYRIGHT - OPPORTUNITIES AND DILEMMA
DOI:
https://doi.org/10.59864/Oditor12407NJKeywords:
TV formats, legal protection, intellectual property, copyright, creative industriesAbstract
TV formats represent popular media content, which attracts a large number of viewers around the world. However, their legal is not regulated enough. The basic dilemma in legal theory and judicial practice is the possibility of copyright protection of TV formats. The aim of this paper is to try to determine the possibility of legal protection of the TV format as an author's work by analyzing domestic and foreign judicial practice, as well as the existing literature. Although some courts have held that a TV format can be protected as a whole, including its technical elements, this is more the exception than the rule. Most of the time, the disputed question comes down to the elements that have been copied, and concerns the basic idea or concept of the TV format. Nevertheless, there is a tendency on the international level towards more and more frequent recognition of copyright protection of TV formats, but under certain conditions. Thus, rarefaction, originality and typed structure of the format that can be repeated, as well as the way of defining the author's work in legislation are some of the elements that influence whether the TV format will be recognized and protected as an author's work.
Downloads
References
Bechtold S. 2013. The Fashion of TV Show Formats. Michigan State Law Review 2013, (2): 451-512.
Bergman J. E. 2011. No More Format Disputes: Are Reality Television Formats the Proper Subject of Federal Copyright Protection? The Journal of Business, Entrepreneurship & the Law 4, (2). https://digitalcommons.pepperdine.edu/jbel/vol4/iss2/1
Boppert, P. 2018. What is the Status Quo of Copyright Protection for TV Formats in National Jurisdictions and Under International Treaties, and Does it Suffice? https://ssrn.com/abstract=3143110
Bop Consulting (2010). Mapping the Creative industries: a toolkit. Creative and Cultural Economy series ⁄ 2. The British Council.
Başaran, S. 2019. Turkey: Protection Of TV Formats And Shows. https://www.mondaq.com/turkey/copyright/867104/protection-of-tv-formats-and-shows
Chalaby J. K. 2012. At the Origin of a Global Industry: The TV Format Trade as an Anglo-American Invention. Media Culture & Society 34, (1): 36-52. DOI:10.1177/0163443711427198
Chalaby J. K. 2011. The Making of an Entertainment Revolution: How the TV Format Trade Became a Global Industry December 2011. European Journal of Communication 26, (4): 293-309.
Day L.A. 1978. A copyright dilemma: The TV forma., Journal of Broadcasting 22 (2): 249-257, DOI: 10.1080/08838157809363882.
Department for Culture, Media and Sport. 2016. Creative Industries Economic Estimates. https://assets.publishing.service.gov.uk/media/5a80889a40f0b62305b8bb4e/Creative_Industries_Economic_Estimates_January_2016_Updated_201605.pdf
FRAPA, McKenzie, B. 2017. Frapa Legal Report 2017.
FRAPA. 2011. The FRAPA Report 2011: Protecting Format Rights. https://frapa.org/wp-content/uploads/Report/FINAL%20FRAPA_Report_2011.pdf
Gottlieb N. E. (2010). Free to Air? Legal Protection for TV Program Formats. John M. Olin Program in Law and Economics. Working Paper No. 513, Chicago: The University of Chicago, Law School.
Green S. 2010cha. Former executive producer at Reg Grundy and Fremantle Media, head of Powerlocal. Power Television, interview with author, 4 June 2010.
Joonseok C. 2019. The commodification of television formats: the role of distribution in the emergence of the commodity form. PhD thesis, University of Iowa. https://doi.org/10.17077/etd.u8xu-wtw6
Koros C. D. 2019. Protection of TV Formats: Legal vs. Non-Legal Approaches. Queen Mary Law Journal 10: 7.
Marković S., i Popović D. 2021. Pravo intelektualne svojine. Beograd: Pravni fakultet Univerziteta u Beogradu.
Marić V. 2021. Originalnost autorskog dela. Beograd: Službeni glasnik.
Marković, S. M., Miladinović, Z. 2014. Autorsko parvo I srodna prava. Pravni fakultet Univerziteta u Kragujevcu.
Marković S. M. 2018. Pravo intelektualne svojine i informaciono društvo. Beograd: Službeni glasnik.
Moran A. 2004. New Television, New Formats. In; Adair, David & Albert Moran (eds.), At the TV Format Coalface. Working Papers in Communication 2/2004. Griffith, University, Brisbane.
Moran A., and Malbon, J. 2006. Understanding the Global TV format. UK: Intellect Books.
Meadow R. 1970. Television Formats – The Search for Protection. California Law Review 58 (4): 1169-1197.
Micić S., Babac M., Težak S., Vrabec M. 1980. Osnovi filmske kulture. Novi Sad: Radnički unniverzitet „Radivoj Čirpanov.
Ohly A. 2009. Economic rights, in: Research handbook on the future of EU copyright, edited by Estelle Declaire, Edward Elgar Publishing.
Popović D. 2014. Televizijski formati kao (ne) zaštićena intelektualna dobra. Anali Pravnog fakulteta u Beogradu 62, (1): 84-101.
Rosati E. 2017. Italian Supreme Court confirms availability of copyright protection to TV formats. Journal of Intellectual Property Law & Practice, 12, (12): 968-969 https://doi.org/10.1093/jiplp/jpx197.
Schmitt D., Bisson G., Fey C. 2005. The global trade in television formats. London, UK: Screen Digest Ltd and FRAPA with the support of the German Federal State of North Rhine-Westphalia.
Sylkina A. 2020. Approaches to Defining a Television Format as one of Intellectual Property Law objects: Ukrainian and Foreign Experiences. European Journal of Sustainable Development 9, (4): 364-375.
Stamenković J. 2020. Zbirke sudske prakse privrednih sudova iz oblasti zaštite intelektualne svojina, knjiga druga (2016-2019). Beograd: Službeni glasnik.
Strategija razvoja intelektualne svojine za period od 2018. do 2022. godine. “Službeni gasnik RS”, br. 78 od 19. oktobra 2018.
Vodinelić V. V. 2017. Građansko pravo: uvod u građansko pravo i opšti deo građanskog prava. Beograd: Pravni fakultet Univerziteta Union, Službeni glasnik.
