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Advisor(s)
Abstract(s)
Durante anos, muitos foram os que tentaram responder à problemática das obras órfãs. O crescente desenvolvimento da sociedade de informação resultou numa consequente criação de projetos de digitalização massiva de obras, surgindo bibliotecas digitais e diversos projetos de iniciativa privada, que pretendiam colocar as obras à disposição do público. Entre estas estariam as chamadas obras órfãs. A existência de obras órfãs gera grandes obstáculos para os criadores destes projetos. Houve necessidade de legislar nesta matéria, surgindo a Diretiva 2012/28/EU sobre determinadas utilizações permitidas das obras órfãs e transposta para o Direito interno pela Lei n.º 32/2015, de 24 de Abril, que introduziu uma nova modalidade de utilização livre no Código de Direitos de Autor e Direitos Conexos português e estabeleceu um regime para a resolução da problemática das obras órfãs. Com este trabalho propomo-nos tratar a problemática das obras órfãs, explicando em que consistem, abordar as discussões que têm surgido em torno destas, as soluções que, entretanto, foram propostas antes do surgimento da Diretiva e, por fim, fazer um estudo aprofundado da mesma, abordando algumas lacunas que existem. O estudo deste tema revela-se importante, pois até ao surgimento desta Diretiva, apesar de alguns esforços, a União Europeia nunca propôs uma solução fiável, pese embora houvesse imensos problemas gerados em torno destas obras. Mas teremos encontrado solução?
For years, many have attempted to respond to the problem of orphan works. The growing development of the information society resulted in the creation of projects for the massive digitisation of works, with the emergence of digital libraries and several projects of private initiative, which were intended to make the works available to the public. Among these would be the so-called orphan works. The existence of orphan works creates great obstacles for the creators of these projects. There was a need to legislate on this matter, thus resulting in Directive 2012/28/EU focused on certain permitted uses of orphan works and transposed into national jurisdiction by Law no. 32/2015, of 24 April, which introduced a new modality of Free Use in the Portuguese Code of Copyright and Related Rights and established a regime for the resolution of the problem of orphan works. With the present work we propose to study the problems of orphan works, explaining in what they consist, approaching the discussions that have sprung up around these, analysing the solutions that have been proposed before the emergence of the Directive. Finally, we intend to carry out an in-depth study of this Directive, addressing some gaps that it left open. The study of this theme proves to be important, because until the emergence of this Directive, despite some efforts, the European Union has never proposed a reliable solution, despite the immense problems generated by orphan works. But have we found a solution?
For years, many have attempted to respond to the problem of orphan works. The growing development of the information society resulted in the creation of projects for the massive digitisation of works, with the emergence of digital libraries and several projects of private initiative, which were intended to make the works available to the public. Among these would be the so-called orphan works. The existence of orphan works creates great obstacles for the creators of these projects. There was a need to legislate on this matter, thus resulting in Directive 2012/28/EU focused on certain permitted uses of orphan works and transposed into national jurisdiction by Law no. 32/2015, of 24 April, which introduced a new modality of Free Use in the Portuguese Code of Copyright and Related Rights and established a regime for the resolution of the problem of orphan works. With the present work we propose to study the problems of orphan works, explaining in what they consist, approaching the discussions that have sprung up around these, analysing the solutions that have been proposed before the emergence of the Directive. Finally, we intend to carry out an in-depth study of this Directive, addressing some gaps that it left open. The study of this theme proves to be important, because until the emergence of this Directive, despite some efforts, the European Union has never proposed a reliable solution, despite the immense problems generated by orphan works. But have we found a solution?
Description
Keywords
Obras orfãs Direitos de autor Processos de digitalização massiva Experiências normativas Justificação da diretiva Deficiências da diretiva Orphan works Copyright Massive digitisation processes Regulatory experiences Justification of the directive Flaws in the directive