50BA Observing, studying and testing of computer programs
(1) It is not an infringement of copyright for a lawful user of a copy of a computer program to observe, study or test the functioning of the program in order to determine the ideas and principles which underlie any element of the program if he does so while performing any of the acts of loading, displaying, running, transmitting or storing the program which he is entitled to do.
(2) Where an act is permitted under this section, it is irrelevant whether or not there exists any term or condition in an agreement which purports to prohibit or restrict the act (such terms being, by virtue of section 296A, void).
(1) It is not an infringement of copyright for a lawful user of a copy of a computer program to copy or adapt it, provided that the copying or adapting—
(a) is necessary for his lawful use; and
(b) is not prohibited under any term or condition of an agreement regulating the circumstances in which his use is lawful.
(2) It may, in particular, be necessary for the lawful use of a computer program to copy it or adapt it for the purpose of correcting errors in it.
(3) This section does not apply to any copying or adapting permitted under section 50A, 50B or 50BA.
(1) It is not an infringement of copyright in a database for a person who has a right to use the database or any part of the database, (whether under a licence to do any of the acts restricted by the copyright in the database or otherwise) to do, in the exercise of that right, anything which is necessary for the purposes of access to and use of the contents of the database or of that part of the database.
(2) Where an act which would otherwise infringe copyright in a database is permitted under this section, it is irrelevant whether or not there exists any term or condition in any agreement which purports to prohibit or restrict the act (such terms being, by virtue of section 296B, void).
(1) It is not an infringement of any copyright in a design document or model recording or embodying a design for anything other than an artistic work or a typeface to make an article to the design or to copy an article made to the design.
(2) Nor is it an infringement of the copyright to issue to the public, or include in a film or communicate to the public, anything the making of which was, by virtue of subsection (1), not an infringement of that copyright.
(3) In this section—
“design” means the design of ...the shape or configuration (whether internal or external) of the whole or part of an article, other than surface decoration; and
“design document” means any record of a design, whether in the form of a drawing, a written description, a photograph, data stored in a computer or otherwise.
53 Things done in reliance on registration of design.
(1) The copyright in an artistic work is not infringed by anything done—
(a) in pursuance of an assignment or licence made or granted by a person registered —
(i) under the Registered Designs Act 1949 as the proprietor of a corresponding design, and , or
(ii) under the Community Design Regulation as the right holder of a corresponding registered Community design
(b) in good faith in reliance on the registration and without notice of any proceedings for the cancellation or invalidation of the registration or , in a case of registration under the 1949 Act, for rectifying the relevant entry in the register of designs;
and this is so notwithstanding that the person registered as the proprietor was not the proprietor of the design for the purposes of the 1949 Act or, in a case of registration under the Community Design Regulation, that the person registered as the right holder was not the right holder of the design for the purposes of the Regulation.
(2) In subsection (1) a “corresponding design”, in relation to an artistic work, means a design within the meaning of the 1949 Act which if applied to an article would produce something which would be treated for the purposes of this Part as a copy of the artistic work.
(3) In subsection (1), a “corresponding registered Community design”, in relation to an artistic work, means a design within the meaning of the Community Design Regulation which if applied to an article would produce something which would be treated for the purposes of this Part as a copy of the artistic work.
(4) In this section, “the Community Design Regulation” means Council Regulation (EC) No 6/2002 of 12 December 2001 on Community designs.
54 Use of typeface in ordinary course of printing.
(1) It is not an infringement of copyright in an artistic work consisting of the design of a typeface—
(a) to use the typeface in the ordinary course of typing, composing text, typesetting or printing,
(b) to possess an article for the purpose of such use, or
(c) to do anything in relation to material produced by such use;
and this is so notwithstanding that an article is used which is an infringing copy of the work.
(2) However, the following provisions of this Part apply in relation to persons making, importing or dealing with articles specifically designed or adapted for producing material in a particular typeface, or possessing such articles for the purpose of dealing with them, as if the production of material as mentioned in subsection (1) did infringe copyright in the artistic work consisting of the design of the typeface—
section 24 (secondary infringement: making, importing, possessing or dealing with article for making infringing copy),
sections 99 and 100 (order for delivery up and right of seizure),
section 107(2) (offence of making or possessing such an article), and
section 108 (order for delivery up in criminal proceedings).
(3) The references in subsection (2) to “dealing with” an article are to selling, letting for hire, or offering or exposing for sale or hire, exhibiting in public, or distributing.
55 Articles for producing material in particular typeface.
(1) This section applies to the copyright in an artistic work consisting of the design of a typeface where articles specifically designed or adapted for producing material in that typeface have been marketed by or with the licence of the copyright owner.
(2) After the period of 25 years from the end of the calendar year in which the first such articles are marketed, the work may be copied by making further such articles, or doing anything for the purpose of making such articles, and anything may be done in relation to articles so made, without infringing copyright in the work.
(3) In subsection (1) “marketed” means sold, let for hire or offered or exposed for sale or hire, in the United Kingdom or elsewhere.
56 Transfers of copies of works in electronic form.
(1) This section applies where a copy of a work in electronic form has been purchased on terms which, expressly or impliedly or by virtue of any rule of law, allow the purchaser to copy the work, or to adapt it or make copies of an adaptation, in connection with his use of it.
(2) If there are no express terms—
(a) prohibiting the transfer of the copy by the purchaser, imposing obligations which continue after a transfer, prohibiting the assignment of any licence or terminating any licence on a transfer, or
(b) providing for the terms on which a transferee may do the things which the purchaser was permitted to do,
anything which the purchaser was allowed to do may also be done without infringement of copyright by a transferee; but any copy, adaptation or copy of an adaptation made by the purchaser which is not also transferred shall be treated as an infringing copy for all purposes after the transfer.
(3) The same applies where the original purchased copy is no longer usable and what is transferred is a further copy used in its place.
(4) The above provisions also apply on a subsequent transfer, with the substitution for references in subsection (2) to the purchaser of references to the subsequent transferor.
57 Anonymous or pseudonymous works: acts permitted on assumptions as to expiry of copyright or death of author.
(1) Copyright in a literary, dramatic, musical or artistic work is not infringed by an act done at a time when, or in pursuance of arrangements made at a time when—
(a) it is not possible by reasonable inquiry to ascertain the identity of the author, and
(b) it is reasonable to assume—
(i) that copyright has expired, or
(ii) that the author died 70 years or more before the beginning of the calendar year in which the act is done or the arrangements are made.
(2) Subsection (1)(b)(ii) does not apply in relation to—
(a) a work in which Crown copyright subsists, or
(b) a work in which copyright originally vested in an international organisation by virtue of section 168 and in respect of which an Order under that section specifies a copyright period longer than 70 years.
(3) In relation to a work of joint authorship—
(a) the reference in subsection (1) to its being possible to ascertain the identity of the author shall be construed as a reference to its being possible to ascertain the identity of any of the authors, and
(b) the reference in subsection (1)(b)(ii) to the author having died shall be construed as a reference to all the authors having died.
58 Use of notes or recordings of spoken words in certain cases.
(1) Where a record of spoken words is made, in writing or otherwise, for the purpose—
(a) of reporting current events, or
(b) of communicating to the public the whole or part of the work,
it is not an infringement of any copyright in the words as a literary work to use the record or material taken from it (or to copy the record, or any such material, and use the copy) for that purpose, provided the following conditions are met.
(2) The conditions are that—
(a) the record is a direct record of the spoken words and is not taken from a previous record or from a broadcast . . . ;
(b) the making of the record was not prohibited by the speaker and, where copyright already subsisted in the work, did not infringe copyright;
(c) the use made of the record or material taken from it is not of a kind prohibited by or on behalf of the speaker or copyright owner before the record was made; and
(d) the use is by or with the authority of a person who is lawfully in possession of the record.
(1) The reading or recitation in public by one person of a reasonable extract from a published literary or dramatic work does not infringe any copyright in the work if it is accompanied by a sufficient acknowledgement.
(2) Copyright in a work is not infringed by the making of a sound recording, or the communication to the public, of a reading or recitation which by virtue of subsection (1) does not infringe copyright in the work, provided that the recording or communication to the public consists mainly of material in relation to which it is not necessary to rely on that subsection.
(1) Where an article on a scientific or technical subject is published in a periodical accompanied by an abstract indicating the contents of the article, it is not an infringement of copyright in the abstract, or in the article, to copy the abstract or issue copies of it to the public.
(2) This section does not apply if or to the extent that there is a licensing scheme certified for the purposes of this section under section 143 providing for the grant of licences.
(1) A sound recording of a performance of a song may be made for the purpose of including it in an archive maintained by a body not established or conducted for profit without infringing any copyright in the words as a literary work or in the accompanying musical work, provided the conditions in subsection (2) below are met.
(2) The conditions are that—
(a) the words are unpublished and of unknown authorship at the time the recording is made,
(b) the making of the recording does not infringe any other copyright, and
(c) its making is not prohibited by any performer.
(3) A single copy of a sound recording made in reliance on subsection (1) and included in an archive referred to in that subsection may be made and supplied by the archivist without infringing copyright in the recording or the works included in it, provided that—
(a) the copy is supplied in response to a request from a person who has provided the archivist with a declaration in writing which includes the information set out in subsection (4), and
(b) the archivist is not aware that the declaration is false in a material particular.
(4) The information which must be included in the declaration is—
(a) the name of the person who requires the copy and the sound recording which is the subject of the request,
(b) a statement that the person has not previously been supplied with a copy of that sound recording by any archivist, and
(c) a statement that the person requires the copy for the purposes of research for a non-commercial purpose or private study, will use it only for those purposes and will not supply the copy to any other person.
(5) Where an archive makes a charge for supplying a copy under this section, the sum charged must be calculated by reference to the costs attributable to the production of the copy.
(6) Where a person (“P”) makes a declaration under this section that is false in a material particular and is supplied with a copy which would have been an infringing copy if made by P—
(a) P is liable for infringement of copyright as if P had made the copy, and
(b) the copy supplied to P is to be treated as an infringing copy for all purposes.
(7) In this section references to an archivist include a person acting on behalf of an archivist.
62 Representation of certain artistic works on public display.
(1) This section applies to—
(a) buildings, and
(b) sculptures, models for buildings and works of artistic craftsmanship, if permanently situated in a public place or in premises open to the public.
(2) The copyright in such a work is not infringed by—
(a) making a graphic work representing it,
(b) making a photograph or film of it, or
(c) making a broadcast of a visual image of it.
(3) Nor is the copyright infringed by the issue to the public of copies, or the communication to the public, of anything whose making was, by virtue of this section, not an infringement of the copyright.
(1) It is not an infringement of copyright in an artistic work to copy it, or to issue copies to the public, for the purpose of advertising the sale of the work.
(2) Where a copy which would otherwise be an infringing copy is made in accordance with this section but is subsequently dealt with for any other purpose, it shall be treated as an infringing copy for the purposes of that dealing, and if that dealing infringes copyright for all subsequent purposes.
For this purpose “dealt with” means sold or let for hire, offered or exposed for sale or hire, exhibited in public , distributed or communicated to the public.
Where the author of an artistic work is not the copyright owner, he does not infringe the copyright by copying the work in making another artistic work, provided he does not repeat or imitate the main design of the earlier work.
Anything done for the purposes of reconstructing a building does not infringe any copyright—
(a) in the building, or
(b) in any drawings or plans in accordance with which the building was, by or with the licence of the copyright owner, constructed.
(1) The Secretary of State may by order provide that in such cases as may be specified in the order the lending to the public of copies of literary, dramatic, musical or artistic works, sound recordings or films shall be treated as licensed by the copyright owner subject only to the payment of such reasonable royalty or other payment as may be agreed or determined in default of agreement by the Copyright Tribunal.
(2) No such order shall apply if, or to the extent that, there is a licensing scheme certified for the purposes of this section under section 143 providing for the grant of licences.
(3) An order may make different provision for different cases and may specify cases by reference to any factor relating to the work, the copies lent, the lender or the circumstances of the lending.
(4) An order shall be made by statutory instrument; and no order shall be made unless a draft of it has been laid before and approved by a resolution of each House of Parliament.
(5) Nothing in this section affects any liability under section 23 (secondary infringement: possessing or dealing with infringing copy) in respect of the lending of infringing copies.
66A Films: acts permitted on assumptions as to expiry of copyright, &c.
(1) Copyright in a film is not infringed by an act done at a time when, or in pursuance of arrangements made at a time when—
(a) it is not possible by reasonable inquiry to ascertain the identity of any of the persons referred to in section 13B(2)(a) to (d) (persons by reference to whose life the copyright period is ascertained), and
(b) it is reasonable to assume—
(i) that copyright has expired, or
(ii) that the last to die of those persons died 70 years or more before the beginning of the calendar year in which the act is done or the arrangements are made.
(2) Subsection (1)(b)(ii) does not apply in relation to—
(a) a film in which Crown copyright subsists, or
(b) a film in which copyright originally vested in an international organisation by virtue of section 168 and in respect of which an Order under that section specifies a copyright period longer than 70 years.
68 Incidental recording for purposes of broadcast . . . .
(1) This section applies where by virtue of a licence or assignment of copyright a person is authorised to broadcast . . . —
(a) a literary, dramatic or musical work, or an adaptation of such a work,
(b) an artistic work, or
(c) a sound recording or film.
(2) He shall by virtue of this section be treated as licensed by the owner of the copyright in the work to do or authorise any of the following for the purposes of the broadcast . . . —
(a) in the case of a literary, dramatic or musical work, or an adaptation of such a work, to make a sound recording or film of the work or adaptation;
(b) in the case of an artistic work, to take a photograph or make a film of the work;
(c) in the case of a sound recording or film, to make a copy of it.
(3) That licence is subject to the condition that the recording, film, photograph or copy in question—
(a) shall not be used for any other purpose, and
(b) shall be destroyed within 28 days of being first used for broadcasting the work . . . .
(4) A recording, film, photograph or copy made in accordance with this section shall be treated as an infringing copy—
(a) for the purposes of any use in breach of the condition mentioned in subsection (3)(a), and
(b) for all purposes after that condition or the condition mentioned in subsection (3)(b) is broken.
69 Recording for purposes of supervision and control of broadcasts and other services.
(1) Copyright is not infringed by the making or use by the British Broadcasting Corporation, for the purpose of maintaining supervision and control over programmes broadcast by them or included in any on-demand programme service provided by them, of recordings of those programmes.
(2) Copyright is not infringed by anything done in pursuance of—
(a) section 167(1) of the Broadcasting Act 1990, section 115(4) or (6) or 117 of the Broadcasting Act 1996 or paragraph 20 of Schedule 12 to the Communications Act 2003;
(b) a condition which, by virtue of section 334(1) of the Communications Act 2003, is included in a licence granted under Part I or III of that Act or Part I or II of the Broadcasting Act 1996; . . .
(c) a direction given under section 109(2) of the Broadcasting Act 1990 (power of OFCOM to require production of recordings etc).
(d) section 334(3) , 368O(1) or (3) of the Communications Act 2003.
(3) Copyright is not infringed by the use by OFCOM in connection with the performance of any of their functions under the Broadcasting Act 1990, the Broadcasting Act 1996 or the Communications Act 2003 of—
(a) any recording, script or transcript which is provided to them under or by virtue of any provision of those Acts; or
(b) any existing material which is transferred to them by a scheme made under section 30 of the Communications Act 2003.
(4) In subsection (3), “existing material” means—
(a) any recording, script or transcript which was provided to the Independent Television Commission or the Radio Authority under or by virtue of any provision of the Broadcasting Act 1990 or the Broadcasting Act 1996; and
(b) any recording or transcript which was provided to the Broadcasting Standards Commission under section 115(4) or (6) or 116(5) of the Broadcasting Act 1996.
(5) Copyright is not infringed by the use by an appropriate regulatory authority designated under section 368B of the Communications Act 2003, in connection with the performance of any of their functions under that Act, of any recording, script or transcript which is provided to them under or by virtue of any provision of that Act.
(6) In this section “on-demand programme service” has the same meaning as in the Communications Act 2003 (see section 368A of that Act).
(1) The making in domestic premises for private and domestic use of a recording of a broadcast . . . solely for the purpose of enabling it to be viewed or listened to at a more convenient time does not infringe any copyright in the broadcast . . . or in any work included in it.
(2) Where a copy which would otherwise be an infringing copy is made in accordance with this section but is subsequently dealt with—
(a) it shall be treated as an infringing copy for the purposes of that dealing; and
(b) if that dealing infringes copyright, it shall be treated as an infringing copy for all subsequent purposes.
(3) In subsection (2), “ dealt with ” means sold or let for hire, offered or exposed for sale or hire or communicated to the public.
(1) The making in domestic premises for private and domestic use of a photograph of the whole or any part of an image forming part of a broadcast, or a copy of such a photograph, does not infringe any copyright in the broadcast or in any film included in it.
(2) Where a copy which would otherwise be an infringing copy is made in accordance with this section but is subsequently dealt with—
(a) it shall be treated as an infringing copy for the purposes of that dealing; and
(b) if that dealing infringes copyright, it shall be treated as an infringing copy for all subsequent purposes.
(3) In subsection (2), “ dealt with ” means sold or let for hire, offered or exposed for sale or hire or communicated to the public.
72 Free public showing or playing of broadcast . . . .
(1) The showing or playing in public of a broadcast . . . to an audience who have not paid for admission to the place where the broadcast . . . is to be seen or heard does not infringe any copyright in—
(a) the broadcast; or
(b) any sound recording (except so far as it is an excepted sound recording) included in it ...
(c) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
(1A) For the purposes of this Part an “excepted sound recording” is a sound recording—
(a) whose author is not the author of the broadcast in which it is included; and
(b) which is a recording of music with or without words spoken or sung.
(1B) Where by virtue of subsection (1) the copyright in a broadcast shown or played in public is not infringed, copyright in any film or excepted sound recording included in it is not infringed if the playing or showing of that broadcast in public—
(a) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
(b) is necessary for the purposes of—
(i) repairing equipment for the reception of broadcasts;
(ii) demonstrating that a repair to such equipment has been carried out; or
(iii) demonstrating such equipment which is being sold or let for hire or offered or exposed for sale or hire.
(2) The audience shall be treated as having paid for admission to a place—
(a) if they have paid for admission to a place of which that place forms part; or
(b) if goods or services are supplied at that place (or a place of which it forms part)—
(i) at prices which are substantially attributable to the facilities afforded for seeing or hearing the broadcast . . . , or
(ii) at prices exceeding those usually charged there and which are partly attributable to those facilities.
(3) The following shall not be regarded as having paid for admission to a place—
(a) persons admitted as residents or inmates of the place;
(b) persons admitted as members of a club or society where the payment is only for membership of the club or society and the provision of facilities for seeing or hearing broadcasts . . . is only incidental to the main purposes of the club or society.
(4) Where the making of the broadcast . . . was an infringement of the copyright in a sound recording or film, the fact that it was heard or seen in public by the reception of the broadcast . . . shall be taken into account in assessing the damages for that infringement.
(1) A recording of a broadcast or a copy of such a recording may be made for the purpose of being placed in an archive maintained by a body which is not established or conducted for profit without infringing any copyright in the broadcast or in any work included in it.
(2) To the extent that a term of a contract purports to prevent or restrict the doing of any act which, by virtue of this section, would not infringe copyright, that term is unenforceable.
An act which by virtue of this Chapter may be done without infringing copyright in a literary, dramatic or musical work does not, where that work is an adaptation, infringe any copyright in the work from which the adaptation was made.
(1) The author of a copyright literary, dramatic, musical or artistic work, and the director of a copyright film, has the right to be identified as the author or director of the work in the circumstances mentioned in this section; but the right is not infringed unless it has been asserted in accordance with section 78.
(2) The author of a literary work (other than words intended to be sung or spoken with music) or a dramatic work has the right to be identified whenever—
(a) the work is published commercially, performed in public or communicated to the public; or
(b) copies of a film or sound recording including the work are issued to the public;
and that right includes the right to be identified whenever any of those events occur in relation to an adaptation of the work as the author of the work from which the adaptation was made.
(3) The author of a musical work, or a literary work consisting of words intended to be sung or spoken with music, has the right to be identified whenever—
(a) the work is published commercially;
(b) copies of a sound recording of the work are issued to the public; or
(c) a film of which the sound-track includes the work is shown in public or copies of such a film are issued to the public;
and that right includes the right to be identified whenever any of those events occur in relation to an adaptation of the work as the author of the work from which the adaptation was made.
(4) The author of an artistic work has the right to be identified whenever—
(a) the work is published commercially or exhibited in public, or a visual image of it is communicated to the public;
(b) a film including a visual image of the work is shown in public or copies of such a film are issued to the public; or
(c) in the case of a work of architecture in the form of a building or a model for a building, a sculpture or a work of artistic craftsmanship, copies of a graphic work representing it, or of a photograph of it, are issued to the public.
(5) The author of a work of architecture in the form of a building also has the right to be identified on the building as constructed or, where more than one building is constructed to the design, on the first to be constructed.
(6) The director of a film has the right to be identified whenever the film is shown in public or communicated to the public or copies of the film are issued to the public.
(7) The right of the author or director under this section is—
(a) in the case of commercial publication or the issue to the public of copies of a film or sound recording, to be identified in or on each copy or, if that is not appropriate, in some other manner likely to bring his identity to the notice of a person acquiring a copy,
(b) in the case of identification on a building, to be identified by appropriate means visible to persons entering or approaching the building, and
(c) in any other case, to be identified in a manner likely to bring his identity to the attention of a person seeing or hearing the performance, exhibition, showing or communication to the public in question;
and the identification must in each case be clear and reasonably prominent.
(8) If the author or director in asserting his right to be identified specifies a pseudonym, initials or some other particular form of identification, that form shall be used; otherwise any reasonable form of identification may be used.
(9) This section has effect subject to section 79 (exceptions to right).
(1) A person does not infringe the right conferred by section 77 (right to be identified as author or director) by doing any of the acts mentioned in that section unless the right has been asserted in accordance with the following provisions so as to bind him in relation to that act.
(2) The right may be asserted generally, or in relation to any specified act or description of acts—
(a) on an assignment of copyright in the work, by including in the instrument effecting the assignment a statement that the author or director asserts in relation to that work his right to be identified, or
(b) by instrument in writing signed by the author or director.
(3) The right may also be asserted in relation to the public exhibition of an artistic work—
(a) by securing that when the author or other first owner of copyright parts with possession of the original, or of a copy made by him or under his direction or control, the author is identified on the original or copy, or on a frame, mount or other thing to which it is attached, or
(b) by including in a licence by which the author or other first owner of copyright authorises the making of copies of the work a statement signed by or on behalf of the person granting the licence that the author asserts his right to be identified in the event of the public exhibition of a copy made in pursuance of the licence.
(4) The persons bound by an assertion of the right under subsection (2) or (3) are—
(a) in the case of an assertion under subsection (2)(a), the assignee and anyone claiming through him, whether or not he has notice of the assertion;
(b) in the case of an assertion under subsection (2)(b), anyone to whose notice the assertion is brought;
(c) in the case of an assertion under subsection (3)(a), anyone into whose hands that original or copy comes, whether or not the identification is still present or visible;
(d) in the case of an assertion under subsection (3)(b), the licensee and anyone into whose hands a copy made in pursuance of the licence comes, whether or not he has notice of the assertion.
(5) In an action for infringement of the right the court shall, in considering remedies, take into account any delay in asserting the right.
(1) The right conferred by section 77 (right to be identified as author or director) is subject to the following exceptions.
(2) The right does not apply in relation to the following descriptions of work—
(a) a computer program;
(b) the design of a typeface;
(c) any computer-generated work.
(3) The right does not apply to anything done by or with the authority of the copyright owner where copyright in the work originally vested in the author’s or director’s employer by virtue of section 11(2) (works produced in the course of employment).
(4) The right is not infringed by an act which by virtue of any of the following provisions would not infringe copyright in the work—
(a) section 30 (fair dealing for certain purposes), so far as it relates to the reporting of current events by means of a sound recording, film or broadcast;
(b) section 31 (incidental inclusion of work in an artistic work, sound recording, film or broadcast);
(c) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
(d) section 45 (parliamentary and judicial proceedings);
(e) section 46(1) or (2) (Royal Commissions and statutory inquiries);
(f) section 51 (use of design documents and models);
(g) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
(h) section 57 or 66A (acts permitted on assumptions as to expiry of copyright, &c.);
(4A) The right is also not infringed by any act done for the purposes of an examination which by virtue of any provision of Chapter 3 of Part 1 would not infringe copyright.
(5) The right does not apply in relation to any work made for the purpose of reporting current events.
(6) The right does not apply in relation to the publication in—
(a) a newspaper, magazine or similar periodical, or
(b) an encyclopaedia, dictionary, yearbook or other collective work of reference,
of a literary, dramatic, musical or artistic work made for the purposes of such publication or made available with the consent of the author for the purposes of such publication.
(7) The right does not apply in relation to—
(a) a work in which Crown copyright or Parliamentary copyright subsists, or
(b) a work in which copyright originally vested in an international organisation by virtue of section 168,
unless the author or director has previously been identified as such in or on published copies of the work.
80 Right to object to derogatory treatment of work.
(1) The author of a copyright literary, dramatic, musical or artistic work, and the director of a copyright film, has the right in the circumstances mentioned in this section not to have his work subjected to derogatory treatment.
(2) For the purposes of this section—
(a) “treatment” of a work means any addition to, deletion from or alteration to or adaptation of the work, other than—
(i) a translation of a literary or dramatic work, or
(ii) an arrangement or transcription of a musical work involving no more than a change of key or register; and
(b) the treatment of a work is derogatory if it amounts to distortion or mutilation of the work or is otherwise prejudicial to the honour or reputation of the author or director;
and in the following provisions of this section references to a derogatory treatment of a work shall be construed accordingly.
(3) In the case of a literary, dramatic or musical work the right is infringed by a person who—
(a) publishes commercially, performs in public or communicates to the public a derogatory treatment of the work; or
(b) issues to the public copies of a film or sound recording of, or including, a derogatory treatment of the work.
(4) In the case of an artistic work the right is infringed by a person who—
(a) publishes commercially or exhibits in public a derogatory treatment of the work, or communicates to the public a visual image of a derogatory treatment of the work,
(b) shows in public a film including a visual image of a derogatory treatment of the work or issues to the public copies of such a film, or
(c) in the case of—
(i) a work of architecture in the form of a model for a building,
(ii) a sculpture, or
(iii) a work of artistic craftsmanship,
issues to the public copies of a graphic work representing, or of a photograph of, a derogatory treatment of the work.
(5) Subsection (4) does not apply to a work of architecture in the form of a building; but where the author of such a work is identified on the building and it is the subject of derogatory treatment he has the right to require the identification to be removed.
(6) In the case of a film, the right is infringed by a person who—
(a) shows in public or communicates to the public a derogatory treatment of the film; or
(b) issues to the public copies of a derogatory treatment of the film,
. . .
(7) The right conferred by this section extends to the treatment of parts of a work resulting from a previous treatment by a person other than the author or director, if those parts are attributed to, or are likely to be regarded as the work of, the author or director.
(8) This section has effect subject to sections 81 and 82 (exceptions to and qualifications of right).
(1) The right conferred by section 80 (right to object to derogatory treatment of work) is subject to the following exceptions.
(2) The right does not apply to a computer program or to any computer-generated work.
(3) The right does not apply in relation to any work made for the purpose of reporting current events.
(4) The right does not apply in relation to the publication in—
(a) a newspaper, magazine or similar periodical, or
(b) an encyclopaedia, dictionary, yearbook or other collective work of reference,
of a literary, dramatic, musical or artistic work made for the purposes of such publication or made available with the consent of the author for the purposes of such publication.
Nor does the right apply in relation to any subsequent exploitation elsewhere of such a work without any modification of the published version.
(5) The right is not infringed by an act which by virtue of section 57 or 66A (acts permitted on assumptions as to expiry of copyright, &c.) would not infringe copyright.
(6) The right is not infringed by anything done for the purpose of—
(a) avoiding the commission of an offence,
(b) complying with a duty imposed by or under an enactment, or
(c) in the case of the British Broadcasting Corporation, avoiding the inclusion in a programme broadcast by them of anything which offends against good taste or decency or which is likely to encourage or incite to crime or to lead to disorder or to be offensive to public feeling,
provided, where the author or director is identified at the time of the relevant act or has previously been identified in or on published copies of the work, that there is a sufficient disclaimer.
(1) This section applies to—
(a) works in which copyright originally vested in the author’s or director's employer by virtue of section 11(2) (works produced in course of employment) . . .
(b) works in which Crown copyright or Parliamentary copyright subsists, and
(c) works in which copyright originally vested in an international organisation by virtue of section 168.
(2) The right conferred by section 80 (right to object to derogatory treatment of work) does not apply to anything done in relation to such a work by or with the authority of the copyright owner unless the author or director—
(a) is identified at the time of the relevant act, or
(b) has previously been identified in or on published copies of the work;
and where in such a case the right does apply, it is not infringed if there is a sufficient disclaimer.
83 Infringement of right by possessing or dealing with infringing article.
(1) The right conferred by section 80 (right to object to derogatory treatment of work) is also infringed by a person who—
(a) possesses in the course of a business, or
(b) sells or lets for hire, or offers or exposes for sale or hire, or
(c) in the course of a business exhibits in public or distributes, or
(d) distributes otherwise than in the course of a business so as to affect prejudicially the honour or reputation of the author or director,
an article which is, and which he knows or has reason to believe is, an infringing article.
(2) An “infringing article” means a work or a copy of a work which—
(a) has been subjected to derogatory treatment within the meaning of section 80, and
(b) has been or is likely to be the subject of any of the acts mentioned in that section in circumstances infringing that right.
(1) A person has the right in the circumstances mentioned in this section—
(a) not to have a literary, dramatic, musical or artistic work falsely attributed to him as author, and
(b) not to have a film falsely attributed to him as director;
and in this section an “attribution”, in relation to such a work, means a statement (express or implied) as to who is the author or director.
(2) The right is infringed by a person who—
(a) issues to the public copies of a work of any of those descriptions in or on which there is a false attribution, or
(b) exhibits in public an artistic work, or a copy of an artistic work, in or on which there is a false attribution.
(3) The right is also infringed by a person who—
(a) in the case of a literary, dramatic or musical work, performs the work in public or communicates it to the public as being the work of a person, or
(b) in the case of a film, shows it in public or communicates it to the public as being directed by a person,
knowing or having reason to believe that the attribution is false.
(4) The right is also infringed by the issue to the public or public display of material containing a false attribution in connection with any of the acts mentioned in subsection (2) or (3).
(5) The right is also infringed by a person who in the course of a business—
(a) possesses or deals with a copy of a work of any of the descriptions mentioned in subsection (1) in or on which there is a false attribution, or
(b) in the case of an artistic work, possesses or deals with the work itself when there is a false attribution in or on it,
knowing or having reason to believe that there is such an attribution and that it is false.
(6) In the case of an artistic work the right is also infringed by a person who in the course of a business—
(a) deals with a work which has been altered after the author parted with possession of it as being the unaltered work of the author, or
(b) deals with a copy of such a work as being a copy of the unaltered work of the author,
knowing or having reason to believe that that is not the case.
(7) References in this section to dealing are to selling or letting for hire, offering or exposing for sale or hire, exhibiting in public, or distributing.
(8) This section applies where, contrary to the fact—
(a) a literary, dramatic or musical work is falsely represented as being an adaptation of the work of a person, or
(b) a copy of an artistic work is falsely represented as being a copy made by the author of the artistic work,
as it applies where the work is falsely attributed to a person as author.