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\u2116 3 \/ 2024<\/p>\n\n\n\n
ISSN (Print) 2308-0361
ISSN (Online) 2519-2744<\/p>\n\n\n\n
![\"\"](\"https:\/\/test.inprojournal.org\/wp-content\/uploads\/2023\/01\/free-icon-pdf-201153.png\"){kind=icon}
PDF (Ukrainian)<\/a><\/div>\n<\/div>\n\n\n\nDOI: https:\/\/doi.org\/10.33731\/32024.311407<\/a><\/p>\n\n\n\n Submitted 2024-07-30 <\/p>\n\n\n\n <\/p>\n<\/div>\n\n\n\n Genesis of legal protection of animated audiovisual works<\/strong><\/p>\n\n\n\n Oleksandr Tkach<\/strong> <\/p>\n\n\n\n Abstract The history of animation is divided into six main periods. These periods naturally do not coincide with the stages of development of legal protection of objects created by animation and cinematography.\u00a0 It is determined that the stages of animation development as a field of creative activity and a business area are distinguished by the criteria of technology and economic development. They are also associated with the development of cinematography due to the similarity of the production process. The conclusions reflect that it is difficult to divide the genesis of the legal protection of animated audiovisual works into stages due to the diversity of legal provisions in different jurisdictions.<\/p>\n\n\n\n Using the example of the evolution of national legislation of certain countries of the world and the provisions of the Berne Convention, the article reveals theoretical approaches to the legal protection of animated audiovisual works. The article provides an overview of the following approaches: 1) protection of a cinematographic work (film) as a dramatic work if it is original and does not infringe the rights of the authors of dramatic works on which it was created; 2) protection of an animated work (film) as a photographic work, according to which protection is provided for a cinematographic work that does not have any features of originality; 3) protection of an animated work (film) as a moving image, which is inherent in US law; 4) protection of an animated work (film) as a cinematographic work, which provides for the protection of such a work as a separate object; 5) protection of an animated audiovisual work, which is a new approach to legal protection.<\/p>\n\n\n\n It is concluded that the reason for the diversity of terminology, such as cinematographic work, film, moving image, and audiovisual work in modern legislation, is the result of the historical ambiguity of approaches to legal protection of this type of work.<\/p>\n\n\n\n Keywords: <\/strong>copyright, animation, cinematography, audiovisual work<\/p>\n\n\n\n References<\/strong><\/p>\n\n\n\n \u0411\u0443\u0440\u043b\u0430\u043a\u043e\u0432 \u0421. \u042e. \u041a\u0456\u043d\u0435\u043c\u0430\u0442\u043e\u0433\u0440\u0430\u0444\u0456\u0447\u043d\u0438\u0439 \u0442\u0432\u0456\u0440 \u044f\u043a \u043e\u0431\u2019\u0454\u043a\u0442 \u043f\u0440\u0430\u0432\u0430 \u0456\u043d\u0442\u0435\u043b\u0435\u043a\u0442\u0443\u0430\u043b\u044c\u043d\u043e\u0457 \u0432\u043b\u0430\u0441\u043d\u043e\u0441\u0442\u0456: \u0434\u0438\u0441 … \u043a\u0430\u043d\u0434. \u044e\u0440\u0438\u0434. \u043d\u0430\u0443\u043a: 12.00.03. \u041a\u0438\u0457\u0432. 2008. 225 \u0441.<\/p>\n\n\n\n Pedro G. Mart\u00edn Lights! Camera! Action! How the Lumi\u00e8re brothers invented the movies. National Geographic (2019). \u0411\u0435\u043d\u0434\u0430\u0446\u0446\u0456 \u0414\u0436. \u0421\u0432\u0456\u0442\u043e\u0432\u0430 \u0456\u0441\u0442\u043e\u0440\u0456\u044f \u0430\u043d\u0456\u043c\u0430\u0446\u0456\u0457. \u041a\u043d\u0438\u0433\u0430 \u043f\u0435\u0440\u0448\u0430: \u0412\u0456\u0434 \u043f\u043e\u0447\u0430\u0442\u043a\u0443 \u0434\u043e \u0417\u043e\u043b\u043e\u0442\u043e\u0457 \u0434\u043e\u0431\u0438. \u041a\u0438\u0457\u0432: ArtHuss, 2020. 415 \u0441.<\/p>\n\n\n\n Sadoul G. Histoire du cinema: Georges Sadoul. Paris: J’AI LU. 1962. 642 \u0441.<\/p>\n\n\n\n \u0406\u0441\u0442\u043e\u0440\u0456\u044f \u0432\u0438\u043d\u0430\u0445\u043e\u0434\u0443 \u043a\u0456\u043d\u0435\u043c\u0430\u0442\u043e\u0441\u043a\u043e\u043f\u0430. \u0412\u0438\u043d\u0430\u0445\u0456\u0434\u043d\u0438\u043a \u0456 \u0420\u0430\u0446\u0456\u043e\u043d\u0430\u043b\u0456\u0437\u0430\u0442\u043e\u0440. 05.02.2021. Kamina P. Film Copyright in the European Union. 2nd ed. Cambridge: Cambridge University Press, 2016. 537 p. The United Kingdom: Dramatic Literary Property Act, London (1833). Primary Sources on Copyright (1450-1900). The United Kingdom: Copyright Act, London (1842). Primary Sources on Copyright (1450-1900). MacGillivray E. J. The Copyright Act 1911. London: Stevens and Sons Limited. 1912. 201 p.<\/p>\n\n\n\n Copinger W. A. The law of copyright, in works of literature, art, architecture, photography, music and the drama: including chaptees on mechanical conteivances and cinematographs. London: Stevens and Haynes. 1915. 816 p.<\/p>\n\n\n\n The United Kingdom: Fine Art Copyright Bill (20 March), London (1862), Primary Sources on Copyright (1450-1900). Kawohl F. Commentary on the German Imperial Copyright Act (1870). In: Primary Sources on Copyright (1450-1900). eds. L. Bently & M. Kretschme. 2008. France: French Literary and Artistic Property Act, Paris (1793), Primary Sources on Copyright (1450-1900), eds L. Bently & M. Kretschmer. Teilmann S. British and French copyright: a historical study of aesthetic implications. Department of Comparative Literature University of Southern Denmark. 2004. 226 p.<\/p>\n\n\n\n Le Dtoit d’Auteur Organe Mensuel Du Bureau International De L’Union Pour La Protection Des Ceuvres Litteraires Et Artistiques, A Berne. Dix-huitieme annee. \u21166. 1905. P. 69-89. Berne Convention For The Protection Of Literary And Artistic Works of 1886. Sisterson D. Magic Wilderness: El Ap\u00f3stol & Pelud\u00f3polis. Skwigly Online Animation Magazine. 2017. \u0425\u0440\u043e\u043d\u0456\u043a\u0430 \u043f\u043e\u0441\u0442\u0443\u043f\u0443 \u0430\u043d\u0456\u043c\u0430\u0446\u0456\u0439\u043d\u0438\u0445 \u0442\u0435\u0445\u043d\u043e\u043b\u043e\u0433\u0456\u0439. \u041a\u0456\u043d\u043e\u043a\u043e\u043b\u043e. 2000. 7-8. \u0421. 52-63.<\/p>\n\n\n\n Berlin Act, 1908 Revised Berne Convention For The Protection Of Literary And Artistic Works Berlin Act as of November 13, 1908. The United Kingdom: Copyright Act 1911 (An Act to amend and consolidate the Law relating to Copyright as of 16th December 1911. Derclaye E. Research Handbook on the Future of EU Copyright. 2009. The USA: An Act To Amend And Consolidate The Acts Respecting Copyright. 1909. Edison v. Lubin. U.S. District Court \u2014 Eastern District of Pennsylvania. 1903. Kalem Co. v. Harper Brothers, 222 U.S. 55 (1911). Metro-Goldwyn-Mayer Distributing Corp.v. Bijou Theatre Co. US Court of Appeals for the First Circuit. 1932. The Copyright Act of 1909 (as amended and codified). Milton H. Aronson Motion Picture Copyright. Washington University Law Quarterly. 1940. 25\/4. P. 554-572.<\/p>\n\n\n\n Buenos Aires Convention on Literary and Artistic Copyright 1910. Rome Act, 1928 Revised Berne Convention For The Protection Of Literary And Artistic Works. Berlin Act as of June 2, 1928. Dienstag P., Elster A. Handbuch des Deutschen Theater- Film- Musik- und Artistenrechts. Berlin: Springer, 1932. 547 \u0440.<\/p>\n\n\n\n Brussels Act, 1948 Revised Berne Convention For The Protection Of Literary And Artistic Works Berlin Act as of June 26, 1948. Norowzian v. Arks Ltd & Anor. The High Court Of Justice, Chancery Division. 1998. \u041f\u0440\u043e \u0430\u0432\u0442\u043e\u0440\u0441\u044c\u043a\u0435 \u043f\u0440\u0430\u0432\u043e: \u041f\u043e\u0441\u0442\u0430\u043d\u043e\u0432\u0430 \u0412\u0441\u0435\u0443\u043a\u0440\u0430\u0457\u043d\u0441\u044c\u043a\u043e\u0433\u043e \u0426\u0435\u043d\u0442\u0440\u0430\u043b\u044c\u043d\u043e\u0433\u043e \u0412\u0438\u043a\u043e\u043d\u0430\u0432\u0447\u043e\u0433\u043e \u041a\u043e\u043c\u0456\u0442\u0435\u0442\u0443 \u0456 \u0420\u0430\u0434\u0438 \u041d\u0430\u0440\u043e\u0434\u043d\u0456\u0445 \u041a\u043e\u043c\u0456\u0441\u0430\u0440\u0456\u0432 \u0423\u0421\u0420\u0420 \u0432\u0456\u0434 06 \u043b\u044e\u0442\u043e\u0433\u043e 1929. \u0417\u0431\u0456\u0440\u043d\u0438\u043a \u0437\u0430\u043a\u043e\u043d\u0456\u0432 \u0442\u0430 \u0440\u043e\u0437\u043f\u043e\u0440\u044f\u0434\u0436\u0435\u043d\u044c \u0420\u043e\u0431\u0456\u0442\u043d\u0438\u0447\u043e-\u0421\u0435\u043b\u044f\u043d\u0441\u044c\u043a\u043e\u0433\u043e \u0423\u0440\u044f\u0434\u0443 \u0423\u043a\u0440\u0430\u0457\u043d\u0438. \u0426\u0438\u0432\u0456\u043b\u044c\u043d\u0438\u0439 \u043a\u043e\u0434\u0435\u043a\u0441 \u0423\u043a\u0440\u0430\u0457\u043d\u0441\u044c\u043a\u043e\u0457 \u0420\u0421\u0420 \u0432\u0456\u0434 18 \u043b\u0438\u043f\u043d\u044f 1963. \u0422\u0435\u043e\u0440\u0456\u044f \u0456 \u043f\u0440\u0430\u043a\u0442\u0438\u043a\u0430 \u0456\u043d\u0442\u0435\u043b\u0435\u043a\u0442\u0443\u0430\u043b\u044c\u043d\u043e\u0457 \u0432\u043b\u0430\u0441\u043d\u043e\u0441\u0442\u0456\u2116 3 \/ 2024 ISSN (Print) 2308-0361ISSN (Online) 2519-2744 DOI: https:\/\/doi.org\/10.33731\/32024.311407 Submitted 2024-07-30Accepted 2024-08-02Published 2024-09-18 Genesis of legal protection of animated audiovisual works Oleksandr TkachPhD student of the Intellectual Property Scientific Research Institute of the National Academy of Legal Sciences of UkraineUkrainehttps:\/\/orcid.org\/0009-0004-7586-1304 AbstractThe article is devoted to studying […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-7925","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/inprojournal.org\/en\/wp-json\/wp\/v2\/pages\/7925","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/inprojournal.org\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/inprojournal.org\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/inprojournal.org\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/inprojournal.org\/en\/wp-json\/wp\/v2\/comments?post=7925"}],"version-history":[{"count":7,"href":"https:\/\/inprojournal.org\/en\/wp-json\/wp\/v2\/pages\/7925\/revisions"}],"predecessor-version":[{"id":8226,"href":"https:\/\/inprojournal.org\/en\/wp-json\/wp\/v2\/pages\/7925\/revisions\/8226"}],"wp:attachment":[{"href":"https:\/\/inprojournal.org\/en\/wp-json\/wp\/v2\/media?parent=7925"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Accepted 2024-08-02
Published 2024-09-18<\/p>\n\n\n\n![\"\"](\"https:\/\/inprojournal.org\/wp-content\/uploads\/2025\/11\/CC-2.png\")
<\/figure>\n\n\n\n
PhD student of the Intellectual Property Scientific Research Institute of the National Academy of Legal Sciences of Ukraine
Ukraine
https:\/\/orcid.org\/0009-0004-7586-1304<\/a><\/p>\n\n\n\n
<\/strong>The article is devoted to studying the history of the legal protection of animated audiovisual works in the course of the development of technologies for the production of such works. The author establishes that the creation of \u2018live\u2019 images, which was carried out to conduct scientific experiments in physics and mathematics, eventually became the starting point for the development of animation and cinematography.<\/p>\n\n\n\n
https:\/\/www.nationalgeograp hic.com\/history\/history-magazine\/article\/creation-of-the-motion-picture-lumiere-brothers<\/a><\/p>\n\n\n\n
https:\/\/vir.uan.ua\/history-invention-cinema\/<\/a><\/p>\n\n\n\n
https:\/\/doi.org\/10.1017\/CBO9781316343135<\/a><\/p>\n\n\n\n
https:\/\/www.copyrighthistory.org\/ cam\/tools\/request\/showRepresentation.php?id=representation_uk_1833&pagenumber=1_1&imagesize=small<\/a><\/p>\n\n\n\n
https:\/\/www.copyrighthistory.org\/cam\/tools\/request\/ showRepresentation.php?id=representation_uk_1842&pagenumber=1_2&imagesize=small<\/a><\/p>\n\n\n\n
https:\/\/www.copyrighthistory.org\/ cam\/tools\/request\/showRepresentation.php?id=representation_uk_1862j&pagenumber=1_1&imagesize=small<\/a><\/p>\n\n\n\n
https:\/\/www.copyrighthistory.org\/cam\/tools\/request\/showRecord.php?id=com mentary_d_1870<\/a><\/p>\n\n\n\n
https:\/\/www.copyrighthistory.org\/cam\/tools\/request\/showRepresentation.php?id=representation_f_1793&pagenumber=1_1&imagesize=middle#TranslationDisplay<\/a><\/p>\n\n\n\n
https:\/\/www.wipo.int\/edocs\/pubdocs\/fr\/copyright\/ 120\/wipo_pub_120_1905_06.pdf<\/a><\/p>\n\n\n\n
https:\/\/www.wipo.int\/edocs\/pubdocs\/en\/wipo_pub_berne_birpi<\/a><\/p>\n\n\n\n
https:\/\/www.skwigly.co.uk\/magic-wilderness-el-apostol\/<\/a><\/p>\n\n\n\n
https:\/\/www.wipo.int\/edocs\/pubdocs\/en\/wipo_pub_berne_birpi<\/a><\/p>\n\n\n\n
https:\/\/www.legislation.gov.uk\/ukpga\/Geo5\/1-2\/46\/enacted<\/a><\/p>\n\n\n\n
https:\/\/doi.org\/10.4337\/9781848446007<\/a><\/p>\n\n\n\n
https:\/\/www.copyright.gov\/history\/1909act.pdf<\/a><\/p>\n\n\n\n
https:\/\/case-law.vlex.com\/vid\/edison-v-lubin-36-891131101<\/a><\/p>\n\n\n\n
https:\/\/supreme.justia.com\/cases\/federal\/us\/222\/55\/<\/a><\/p>\n\n\n\n
https:\/\/law.justia.com\/cases\/federal\/ appellate-courts\/F2\/59\/70\/1471999\/<\/a><\/p>\n\n\n\n
https:\/\/www.ipmall.info\/sites\/default\/files\/hosted_resources\/lipa\/copyrights\/CopyrightAct1909amendedcodified_.pdf<\/a><\/p>\n\n\n\n
https:\/\/www.wipo.int\/wipolex\/ru\/text\/366495<\/a><\/p>\n\n\n\n
https:\/\/www.wipo.int\/edocs\/pubdocs\/en\/wipo_pub_berne_birpi<\/a><\/p>\n\n\n\n
https:\/\/www.wipo.int\/edocs\/pubdocs\/en\/wipo_pub_berne_birpi<\/a><\/p>\n\n\n\n
https:\/\/www.bailii.org\/ew\/cases\/EWHC\/Ch\/1998\/315.html<\/a><\/p>\n\n\n\n
https:\/\/t.ly\/kyBuc<\/a><\/p>\n\n\n\n
https:\/\/zakon.rada.gov.ua\/laws\/show\/1540-06#Text<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"