The Society for Economic Research on Copyright Issues

Review of Economic Research on Copyright Issues (RERCI)

RERCI Articles

Is a Picture Worth a Thousand Words? The Division of Private Copy Remuneration between Authors of Text and Images

Review of Economic Research on Copyright Issues, 13(1), 29-60, 2016

Juan Santaló

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Abstract

I propose and implement a method to divide the collection of private copy remuneration between the authors of text and the authors of images. I propose that the division should be based on the economic value added by text and images in the original work. Using a unique dataset of books and magazines copied in Spain, I estimate the economic value of each item, text and image, according to different characteristics of the written creative work. My estimates indicate that the average economic value of the images is between 6.35% and 20.00% of the average economic value of the text. These numbers are close to estimates that simply use the proportion of space occupied by images to proxy their economic value.

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Exploring a Better Design of Copyright Law

Review of Economic Research on Copyright Issues, 14(2), 55-80, 2017

Shinya Kinukawa

Downloads:  28


Abstract

This study proposes a simulation model aimed at exploring how copyright law should be designed; that is, a desirable combination of copyright length and breadth. The model incorporates the specific properties of creative industries but is hard to deal with analytically because of its dynamic characteristics. Changes in social welfare under different copyright designs are thus examined by using numerical simulation. The simulation results reveal that a short and narrow copyright is the best, whereas a long and broad copyright is the worst. Moreover, in the long run, a long copyright can reduce social welfare even if the breadth is narrow.

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Aria Rentals: The ’Grand’ Performance Right at Work in the Royal Swedish Opera During the Twentieth Century

Review of Economic Research on Copyright Issues, 2021, 18, 26-55

Staffan Albinsson

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Abstract

This study describes how composers were compensated during the twentieth century for their work in the Royal Swedish Opera through a performance right for drama, known as the ’grand right’. The study is based on primary data until the end of the 1980s. During this period a percentage-based tariff was used. The main finding is the doubling of the percentage rate claimed by publishers during the three decades following the end of the Second World War. The trade agreement concerning the commissioning of new music, the monopolistic position of publishers, the lack of reuse of new operas, and audience tastes are also discussed.

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