Checking date: 05/05/2019


Course: 2019/2020

(12636)
Study: Master in Intellectual Property (298)
EPD


Coordinating teacher: BONDIA ROMAN, CARLOS FERNANDO

Department assigned to the subject: Department of Private Law

Type: Compulsory
ECTS Credits: 6.0 ECTS

Course:
Semester:




Competences and skills that will be acquired and learning results.
- Being able to draft and revise contractual agreements containing the rights and obligations of the parties regarding the transfer of exploitation rights on works and other protected assets, in a clear and precise manner, specifying the modalities of exploitation included in each of the rights and respecting the imperative law, even if it is not expressly formulated. - Being able to advise individuals, institutions and companies that use products or services protected by intellectual property rights, including the analysis of legal issues and the assessment of risks or potential liabilities. - Knowing how to manage rights in the various markets regarding the creations/works, products and services covered by intellectual property. - Being able to integrate their knowledge on intellectual property matters and legislation to handle the complexity of formulating opinions based on information that was incomplete or limited, and to communicate their conclusions to specialists and non-specialists in a clear and unambiguous manner. Likewise, the students should be able to know how to identify conflicts of interest and the infringement of rights that occur in the field of intellectual property and determine the techniques for their resolution. In general, the students should be able to exercise professional activities in the field of intellectual property, both as advisors and/or transactional experts, as well as by exercising civil, commercial, criminal and administrative actions and claims.
Description of contents: programme
This subject focuses on the analysis of the most important markets in the field of intellectual property, as well as on the online and off line commercialization of works, performances and assets protected by intellectual property. Concretely, it covers the legal status of the publishing contract, the main aspects of the publishing industry (for both literary and musical publishing), the phonographic music industry, collecting societies in the music field, the legal framework of theatrical and musical performances, and the process and legislation behind stage shows.
Assessment System
  • % end-of-term-examination 70
  • % of continuous assessment (assigments, laboratory, practicals...) 30
Basic Bibliography
  • VV.AA. Comentarios al Convenio de Berna para la proteccio¿n de las obras literarias y arti¿sticas (coor. R. Bercovitz).. Ed. Tecnos, Madrid. 2013
  • VV.AA. Cuestiones de actualidad sobre propiedad intelectual (descargas ilegales, copia privada¿). Coordinadora Mª. A. Esteve Pardo. . Ed. Tirant lo Blanch, Valencia. 2013
  • VV.AA. Propiedad intelectual en el siglo XXI: Nuevos continentes y su incidencia en el derecho de autor (coord. Espín Alba).. REUS. 2014
  • VV.AA. La reforma de la Ley de Propiedad Intelectual (coord. R. Bercovitz). Tirant lo Blanch, Valencia.. 2015
  • VV.AA. Estudios sobre la ley de propiedad intelectual: últimas reformas y materias pendientes (Coordinador A. Vaquero).. Dykinson, Madrid.. 2016
  • VV.AA.. Comentarios a la Ley de Propiedad Intelectual (Director J.M. Rodríguez Tapia) . Ed. Thomson-Civitas, Madrid. 2011
  • VV.AA.. Propiedad intelectual: doctrina, jurisprudencia, esquemas y formularios (Coordinadora Mª. A. Esteve Pardo).. Tirant lo Blanch, Valencia. 2009
  • VV.AA.. Manual de propiedad intelectual (Coordinador R. Bercovitz). 8ª edición.. Ed. Tirant lo Blanch, Valencia. 2018 (Libro electrónico: Texto completo en línea a través de Biblioteca UC3M)
  • VV.AA.. Comentarios a la Ley de Propiedad Intelectual (Coordinador R. Bercovitz), 4ª edición. . Ed. Tecnos, Madrid.. 2017
  • VV.AA.. Comentarios a la Ley de Propiedad Intelectual (Coordinadores Palau Ramírez y Palao Romero).. Tirant lo Blanch, Valencia.. 2017
Additional Bibliography
  • ALLEN, PAUL. Artist Management for the Music Business. Focal Press. 2014
  • CARBAJO CASCÓN, F. Modelos de negocio y respeto a la propiedad intelectual en el libro electrónico¿, en Documentos electrónicos y textualidades digitales (eds. J.A. Cordón García, R. Gómez-Díaz, J. Alonso Arévalo). Aquilafuente, Universidad de Salamanca. 2013
  • DE ROMÁN PÉREZ, S.. ¿Propiedad intelectual y acceso abierto a artículos científicos¿, en Propiedad Intelectual en el siglo XXI: nuevos continentes y su incidencia en el derecho de autor (coord. I. Espín Alba). Reus. 2014
  • DE ROMÁN PÉREZ, S.. Obras musicales, compositores, intérpretes y nuevas tecnologías. Reus. 2003
  • ENCABO VERA, M. Á. Las obligaciones del editor en la edición musical. Reus. 2002
  • FRIEDMAN, Jane. Publishing 101: A First-Time Author's Guide to Getting Published, Marketing and Promoting Your Book, and Building a Successful Career. MBA for Writers. 2014
  • GIMENO, Luis. ¿Parody of songs: a Spanish case and an international perspective¿. Entertainment Law Review. 1997
  • HITZ, Shelley. Self-Publishing Books 101: A Step-by-Step Guide to Publishing Your Book in Multiple Formats. Body and Soul Publishing. 2014
  • NUNNENKAMP, Kenneth. ¿Musical parody: derivative use or fair use?¿. Loyola Entertainment Law Journal, 7. 1987
  • RAGEL SÁNCHEZ, Luis. El contrato de representación teatral. Reus. 2003
  • RAGEL SÁNCHEZ, Luis. ¿Compositores, intérpretes y ejecutantes de la música en el cine¿, en ROGEL VIDE, Carlos, Creaciones audiovisuales y propiedad intelectual. Reus. 2001
  • ROGEL VIDE, Carlos (coord.). Interpretación y autoría. Reus. 2004
  • SÁNCHEZ ARISTI, RAFAEL. La propiedad intelectual sobre obras musicales. Comares. 2005
  • VENTURA VENTURA, José Manuel. La edición de obras musicales. Centro de Estudios Registrales. 2000
  • ÁLVAREZ BENITO, P. Obligaciones del autor en el contrato de edición. Reus. 2003

The course syllabus and the academic weekly planning may change due academic events or other reasons.