15 resultados para Piracy (Copyright)
em University of Queensland eSpace - Australia
Resumo:
The study of 'molecular mimicry' or 'genetic piracy', with respect to the utilisation of cellular genes captured and modified during the course of virus evolution, has been an area of increasing research with the expansion in virus genome sequencing. Examples of cellular immunomodulatory genes which have been captured from hosts have been identified in a number of viruses. This review concentrates upon studies of murine cytomegalovirus (MCMV), investigating the functions of viral genes homologous to G protein-coupled receptors, MHC class I and chemokines, The study of recombinant MCMV engineered with specific disruptions of these genes has revealed their significance during virus replication and dissemination within the host, In the case of the latter two classes of genes, evidence suggests they interfere with cellular immune responses, although the detailed mechanisms underlying this interference have yet to be delineated. Copyright (C) 2000 S. Karger AG, Basel.
Resumo:
Challenges posed to copyright law in the digital age is most evident in A and M Records Inc v Napster Inc - the various court rulings indicate that Napster is likely to be held responsible for massive copyright infringement should the case come to a full trial - implications for Australian copyright law, the recording industry and individual artists - globalisation may hinder the ability of the recording industry to prevent mass copyright infringement.
Resumo:
Casenote and comment on Kabushiki Kaisha Sony Computer Entertainment v Stevens in which the High Court found in favour of copyright owners - ruling that the definition of technological protection measures in s 10 of the Copyright Act includes not only those measures that physically prevent copying but also those measures that merely deter or discourage copying.
Resumo:
This article seeks to examine the ongoing struggle between narrowcast media piracy practices serving migrant communities and the attempts currently being made by players in the Indian film industry to legitimate, and thus capitalise on, the circulation of Indian films in key offshore markets. This article poses the question of whether an alternative network of distribution is likely to emerge which might supplant Asian food stores as the primary distribution network for Indian films, and to place this problem within the existing framework of cultural practices surrounding Indian films in Australia.