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On repatriation: Questions of copyright ownership and management of repatriated cultural heritage materials

The IPKat

Oriakhogba’s work is a timely reflection on approaches to navigate the complex terrain of using copyright laws to address issues of ownership, control and management inherent in or arising from repatriated (and/or "should-be-repatriated") cultural heritage materials. Artistic works?)

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AI Generated Art and its conflict with IPR

IIPRD

This article delves into the ongoing debate around the issue of right of ownership of copyright by AI generators for their novel artwork. This is a major point of contention in the realm IP laws today whether or not AI can be given the said rights and protections under law.

Art 52
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Canada’s First AI-Authored Copyright Registration Paints a Picture of Uncertainty

IPilogue

Nikita Munjal is an IP Innovation Clinic Fellow, a Student Editor with the Intellectual Property Journal, and a third-year JD/MBA Candidate at Osgoode Hall Law School. Although the reach of this registration is limited, it does showcase the growing uncertainty around how AI interacts with copyright laws.

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Copyright Ownership of Movies and Films in Canada: Who’s on First?

IPilogue

The following is a preview of a paper to be published in the Intellectual Property Journal. . Something has recently gone awry with the law of copyright ownership in a movie or other film — a “cinematographic work”, as s. 2 of the Copyright Act RSC 1985, c. C-42 [ Act ] calls it. . Section 34.1(1)

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The Modern Copyright Dilemma: Digital Content Ownership and Access

IP and Legal Filings

Introduction The Intellectual property laws are designed in such a way that not only reward the creator of his intellectual creation thereby incentivising other creators for further innovation, while balancing the rights of the creator with the right of the society to access information or knowledge.