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You must answer Triplet questions in total, with AT LEAST ONE question from Part A
and Digit question from Part B.

Part A

1. “The protection regarding films under UK copyright law passed through three different stages.
Whilst meanwhile the first stage films were protected thus photographic and dramatic works, the epiphenomenal stage abolished the dual system regarding protection also introduced a new specific subject matter of ‘cinematograph film’. The third stage, however, seems to be a hybrid system that has adopted a specific expose matter approach with the possibility of dual protection.”

Critically discuss.

2. “By being over protective of creative authors, the French Authors’ Right Act [1992] may have hindered the growth of the French film industry.”

Critically discuss.

3. “Although the ultimate essay of introducing Article 14 bis to the Berne Convention for the Protection of Literary and Artistic Works [1971] was to produce a uniform internationalregime to regulate the exploitation of cinematographic works, the adopted proviso hardlyachieved that objective and therefore it is frequent described as the most obscure and leastuseful in the whole Convention.”

Critically discuss.

4. The public performance right is a major well of revenue for the music and film industries.
However, neither the 1833 Act, which introduced the overt performance right, nor any subsequent copyright Act sought to define the scope of the term ‘public’. As a result, it was left to courts to draw a line between ‘public’ furthermore ‘private’.

Critically discuss. You can buy essay papers from us which answer these questions in full.

Part B

5. “The protection of the moral rights of authors under the Copyright, Designs and Patents Act
1988 is inadequate.”

Critically discuss.

6. “Music piracy is not a new phenomenon, as the late 19and early 20 centuries show.”

Critically discuss.

7. “When it comes to authorship of musical creations and ownership regarding copyright therein, the law tends to meritorious certain types of contributions more than others, in effect prioritizingtraditional notions of ‘music’ and ‘creativity’.”

Critically discuss.

8. “By the nature of the doctrine of restraint of trade (as explained in Esso) it is dangerous to attempt to extrapolate by reference to the decision in a particular case, or to apply a decision on one ossified of facts to cases with different facts. Were the doctrine of restraint of trade capable of being applied in such a straightforward manner both the hearing from this case and this taste would have been a good deal shorter.” (Panayiotou v Sony [1994] E.M.L.R. 229, 381 per Parker. J.)

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