International Review of Educational Cinematography (Jul-Dec 1929)

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for purposes of education or entertainment. In its ideal form it combines the characteristics of a work of art and of an economic process, as opposed to dramatic works and also to industrial activity proper that is characterised by the production of goods. The film itself may be regarded as an article only when one considers the substance it is made of. The film ribbon has a commercial value fixed in accordance with the general rules of the market. But what makes of the film an object of trade is not the string of celluloid, but the Filmlizenz which implies a right. The international copyright regulations with regard to cinematograph productions are contained in art 14 of the revised Berne Convention. The International Copyright Conference held in Rome in 1928 has not modified substantially the provisions of art. 14 ; it has, however, inserted in the Berne Convention an article recognizing the « droit moral. » The admission of the •< droit moral » essentially affects copyright in cinematographic films. The much-debated question as to who is the author of a cinematograph production or as to who may be regarded as such, has not yet received an international solution. The provisions of national legislations reflect the attempts that have been made to settle this question. Italy, for instance, admits in regard to the film a collective copyright in which the scenario-writer, the producer of the film (Filmhersteller) and the composer (Komponist) participate in equal shares ; Poland, on the contrary, by her law of March 29th, 1926, confers the copyright in cinematograph films upon the impresario exclusively and in the case of works made on commission, upon the person who gives the order. The most advanced application of the idea of collective copyright in films is embodied in the Egyptian Copyright Law of March 12th., 1927. Under the provisions of this law, the following persons share in the copyright : 1) the original author ; 2) the scenario writer ; 3) the stage-director ; 4) the producer ; 5) the Komponist. It is not easy to understand how this law works out in practice especially when one considers that the actor and the hair-dresser (Filmfriseur) might have been included in the above list, on the same level with the other co-operators. 171 —