Your search for ‘Ben Challis’ returned 8 results

Most people who are involved in exploitation, global licensing and merchandising of television programmes know the value of a television format – whether it is <I>Who Wants To</I> <I>Be a</I> <I>Millionaire?</I>, <I>Big Brother</I>, <I>Wheel of Fortune, Pop Idol </I> or <I>Family Fortunes. </I>Licensing formats – where the creator of a format licenses a broadcaster or production company in another territory with the right to produce a version of that format - is a massive global industry worth

Sampling can be simply defined as the incorporation of pre-existing recordings into a new recording. It can be extended to include the incorporation of part or the whole of a ‘tune’ (a melody) and/or lyrics into another work. Copyright subsists in sound recordings and in the music and lyrics to a song pursuant to section 1(1) of the Copyright Designs and Patents Act 1988 (CDPA).

In this article Ben looks at the current moves by the UK’s recording industry to push for a Europe wide extension in the term of copyright for sound recordings - from fifty years to ninety five years. But Ben asks if this is the time for a complete overhaul in the way copyrights are owned and suggests that any change in term should only be made with additional provisions to protect both the customers and the creators of recorded music.

From the humble VHS machine to Internet file swapping, the issue of hardware and software – which has both infringing and non-infringing uses – has long troubled the courts on a global basis.

In this article Ben Challis examines current developments in the United Kingdom which could be used to support the concept of a coherent stand alone ‘image right’ for celebrities. But Ben asks whether it is time for legislation to govern an area of such of obvious economic importance.