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Henrike Maier, Games as Cultural Heritage: Copyright Challenges for Preserving (Orphan) Video Games in the EU, 6 (2015) JIPITEC 120 para 1.
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%0 Journal Article %T Games as Cultural Heritage: Copyright Challenges for Preserving (Orphan) Video Games in the EU %A Maier, Henrike %J JIPITEC %D 2015 %V 6 %N 2 %@ 2190-3387 %F maier2015 %X The long-term preservation of complex works such as video games comes with many challenges. Emulation, currently the most adequate preservation strategy for video games, requires several acts that are technically possible, but closely governed and restricted by copyright law and technical protection measures. Without prior authorisation from the rightsholder(s), it is therefore difficult to legally emulate these works. However, games often have several rightsholders that are in some cases near impossible to identify or locate – particularly with regard to older games. This paper therefore focuses on these so-called orphan video games and examines whether (and to what extent) they are covered by the directive on certain permitted uses of orphan works 2012/28/EU (Orphan Works Directive). As complex works with software and audiovisual components, it is difficult to classify video games in their entirety. The Orphan Works Directive, however, only covers certain categories of works. This paper therefore analyses 1) whether video games in their entirety can be considered types of works that fall under the directive, i.e. audiovisual or cinematographic works, and 2) whether the provisions of the orphan work exception are suitable for the specifics of these complex, “multimedia” works. %L 340 %K Cinematographic Works %K Cultural Heritage %K Games %K Orphan Works %U http://nbn-resolving.de/urn:nbn:de:0009-29-42732 %P 120-131Download
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@Article{maier2015, author = "Maier, Henrike", title = "Games as Cultural Heritage: Copyright Challenges for Preserving (Orphan) Video Games in the EU", journal = "JIPITEC", year = "2015", volume = "6", number = "2", pages = "120--131", keywords = "Cinematographic Works; Cultural Heritage; Games; Orphan Works", abstract = "The long-term preservation of complex works such as video games comes with many challenges. Emulation, currently the most adequate preservation strategy for video games, requires several acts that are technically possible, but closely governed and restricted by copyright law and technical protection measures. Without prior authorisation from the rightsholder(s), it is therefore difficult to legally emulate these works. However, games often have several rightsholders that are in some cases near impossible to identify or locate -- particularly with regard to older games. This paper therefore focuses on these so-called orphan video games and examines whether (and to what extent) they are covered by the directive on certain permitted uses of orphan works 2012/28/EU (Orphan Works Directive). As complex works with software and audiovisual components, it is difficult to classify video games in their entirety. The Orphan Works Directive, however, only covers certain categories of works. This paper therefore analyses 1) whether video games in their entirety can be considered types of works that fall under the directive, i.e. audiovisual or cinematographic works, and 2) whether the provisions of the orphan work exception are suitable for the specifics of these complex, ``multimedia'' works.", issn = "2190-3387", url = "http://nbn-resolving.de/urn:nbn:de:0009-29-42732" }Download
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TY - JOUR AU - Maier, Henrike PY - 2015 DA - 2015// TI - Games as Cultural Heritage: Copyright Challenges for Preserving (Orphan) Video Games in the EU JO - JIPITEC SP - 120 EP - 131 VL - 6 IS - 2 KW - Cinematographic Works KW - Cultural Heritage KW - Games KW - Orphan Works AB - The long-term preservation of complex works such as video games comes with many challenges. Emulation, currently the most adequate preservation strategy for video games, requires several acts that are technically possible, but closely governed and restricted by copyright law and technical protection measures. Without prior authorisation from the rightsholder(s), it is therefore difficult to legally emulate these works. However, games often have several rightsholders that are in some cases near impossible to identify or locate – particularly with regard to older games. This paper therefore focuses on these so-called orphan video games and examines whether (and to what extent) they are covered by the directive on certain permitted uses of orphan works 2012/28/EU (Orphan Works Directive). As complex works with software and audiovisual components, it is difficult to classify video games in their entirety. The Orphan Works Directive, however, only covers certain categories of works. This paper therefore analyses 1) whether video games in their entirety can be considered types of works that fall under the directive, i.e. audiovisual or cinematographic works, and 2) whether the provisions of the orphan work exception are suitable for the specifics of these complex, “multimedia” works. SN - 2190-3387 UR - http://nbn-resolving.de/urn:nbn:de:0009-29-42732 ID - maier2015 ER -Download
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<?xml version="1.0" encoding="UTF-8"?> <b:Sources SelectedStyle="" xmlns:b="http://schemas.openxmlformats.org/officeDocument/2006/bibliography" xmlns="http://schemas.openxmlformats.org/officeDocument/2006/bibliography" > <b:Source> <b:Tag>maier2015</b:Tag> <b:SourceType>ArticleInAPeriodical</b:SourceType> <b:Year>2015</b:Year> <b:PeriodicalTitle>JIPITEC</b:PeriodicalTitle> <b:Volume>6</b:Volume> <b:Issue>2</b:Issue> <b:Url>http://nbn-resolving.de/urn:nbn:de:0009-29-42732</b:Url> <b:Pages>120-131</b:Pages> <b:Author> <b:Author><b:NameList> <b:Person><b:Last>Maier</b:Last><b:First>Henrike</b:First></b:Person> </b:NameList></b:Author> </b:Author> <b:Title>Games as Cultural Heritage: Copyright Challenges for Preserving (Orphan) Video Games in the EU</b:Title> <b:Comments>The long-term preservation of complex works such as video games comes with many challenges. Emulation, currently the most adequate preservation strategy for video games, requires several acts that are technically possible, but closely governed and restricted by copyright law and technical protection measures. Without prior authorisation from the rightsholder(s), it is therefore difficult to legally emulate these works. However, games often have several rightsholders that are in some cases near impossible to identify or locate – particularly with regard to older games. This paper therefore focuses on these so-called orphan video games and examines whether (and to what extent) they are covered by the directive on certain permitted uses of orphan works 2012/28/EU (Orphan Works Directive). As complex works with software and audiovisual components, it is difficult to classify video games in their entirety. The Orphan Works Directive, however, only covers certain categories of works. This paper therefore analyses 1) whether video games in their entirety can be considered types of works that fall under the directive, i.e. audiovisual or cinematographic works, and 2) whether the provisions of the orphan work exception are suitable for the specifics of these complex, “multimedia” works.</b:Comments> </b:Source> </b:Sources>Download
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PT Journal AU Maier, H TI Games as Cultural Heritage: Copyright Challenges for Preserving (Orphan) Video Games in the EU SO JIPITEC PY 2015 BP 120 EP 131 VL 6 IS 2 DE Cinematographic Works; Cultural Heritage; Games; Orphan Works AB The long-term preservation of complex works such as video games comes with many challenges. Emulation, currently the most adequate preservation strategy for video games, requires several acts that are technically possible, but closely governed and restricted by copyright law and technical protection measures. Without prior authorisation from the rightsholder(s), it is therefore difficult to legally emulate these works. However, games often have several rightsholders that are in some cases near impossible to identify or locate – particularly with regard to older games. This paper therefore focuses on these so-called orphan video games and examines whether (and to what extent) they are covered by the directive on certain permitted uses of orphan works 2012/28/EU (Orphan Works Directive). As complex works with software and audiovisual components, it is difficult to classify video games in their entirety. The Orphan Works Directive, however, only covers certain categories of works. This paper therefore analyses 1) whether video games in their entirety can be considered types of works that fall under the directive, i.e. audiovisual or cinematographic works, and 2) whether the provisions of the orphan work exception are suitable for the specifics of these complex, “multimedia” works. ERDownload
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<mods> <titleInfo> <title>Games as Cultural Heritage: Copyright Challenges for Preserving (Orphan) Video Games in the EU</title> </titleInfo> <name type="personal"> <namePart type="family">Maier</namePart> <namePart type="given">Henrike</namePart> </name> <abstract>The long-term preservation of complex works such as video games comes with many challenges. Emulation, currently the most adequate preservation strategy for video games, requires several acts that are technically possible, but closely governed and restricted by copyright law and technical protection measures. Without prior authorisation from the rightsholder(s), it is therefore difficult to legally emulate these works. However, games often have several rightsholders that are in some cases near impossible to identify or locate – particularly with regard to older games. This paper therefore focuses on these so-called orphan video games and examines whether (and to what extent) they are covered by the directive on certain permitted uses of orphan works 2012/28/EU (Orphan Works Directive). As complex works with software and audiovisual components, it is difficult to classify video games in their entirety. The Orphan Works Directive, however, only covers certain categories of works. This paper therefore analyses 1) whether video games in their entirety can be considered types of works that fall under the directive, i.e. audiovisual or cinematographic works, and 2) whether the provisions of the orphan work exception are suitable for the specifics of these complex, “multimedia” works.</abstract> <subject> <topic>Cinematographic Works</topic> <topic>Cultural Heritage</topic> <topic>Games</topic> <topic>Orphan Works</topic> </subject> <classification authority="ddc">340</classification> <relatedItem type="host"> <genre authority="marcgt">periodical</genre> <genre>academic journal</genre> <titleInfo> <title>JIPITEC</title> </titleInfo> <part> <detail type="volume"> <number>6</number> </detail> <detail type="issue"> <number>2</number> </detail> <date>2015</date> <extent unit="page"> <start>120</start> <end>131</end> </extent> </part> </relatedItem> <identifier type="issn">2190-3387</identifier> <identifier type="urn">urn:nbn:de:0009-29-42732</identifier> <identifier type="uri">http://nbn-resolving.de/urn:nbn:de:0009-29-42732</identifier> <identifier type="citekey">maier2015</identifier> </mods>Download
Full Metadata
Bibliographic Citation | Journal of intellectual property, information technology and electronic commerce law 6 (2015) 2 |
---|---|
Title |
Games as Cultural Heritage: Copyright Challenges for Preserving (Orphan) Video Games in the EU (eng) |
Author | Henrike Maier |
Language | eng |
Abstract | The long-term preservation of complex works such as video games comes with many challenges. Emulation, currently the most adequate preservation strategy for video games, requires several acts that are technically possible, but closely governed and restricted by copyright law and technical protection measures. Without prior authorisation from the rightsholder(s), it is therefore difficult to legally emulate these works. However, games often have several rightsholders that are in some cases near impossible to identify or locate – particularly with regard to older games. This paper therefore focuses on these so-called orphan video games and examines whether (and to what extent) they are covered by the directive on certain permitted uses of orphan works 2012/28/EU (Orphan Works Directive). As complex works with software and audiovisual components, it is difficult to classify video games in their entirety. The Orphan Works Directive, however, only covers certain categories of works. This paper therefore analyses 1) whether video games in their entirety can be considered types of works that fall under the directive, i.e. audiovisual or cinematographic works, and 2) whether the provisions of the orphan work exception are suitable for the specifics of these complex, “multimedia” works. |
Subject | Cinematographic Works, Cultural Heritage, Games, Orphan Works |
DDC | 340 |
Rights | DPPL |
URN: | urn:nbn:de:0009-29-42732 |