Copyright Comic Book
Copyright 21.2.2002 16:40 Page 1
ART’S A WASTE OF TIME!
JUST FORGET
ABOUT IT!
ARCO
WANTS TO
STUDY MUSIC,
BUT HIS
PARENTS ARE
AGAINST
THE IDEA
…
IT’S NOT FAIR!
WHAT’S UP, MARCO?
WHY SHOULDN’T I BE
AN ARTIST?
MY PARENTS SAY…
THAT I’M BOUND TO STARVE!
THEY’VE GOT IT WRONG! LET’S SEE WHY!
Copyright 21.2.2002 16:40 Page 2
THEY’VE GOT
MY UNCLE AND AUNT MADE FUN OF ME,
THEY STUCK
NO RESPECT
TOO, WHEN I SAID I WANTED TO BE
BY ME
AN ARTIST…
FOR ME!
IS THAT
R I G HT? WHAT
ABOUT YOUR
P A R E N TS?
LUCKY YOU!
MY DAD
CAN YOU IMAGINE A WORLD
ASKED
WITHOUT ARTISTS?
B O O K S
M U S I C
T H E M …
F I L M
T H E A T E R
A R T
D A N C E
T E L E V I S I O N S C U L
A C T U A L L Y . . .
IT WOULD BE BORING!
IT WOULDN’T
BE LIFE!
G R IM!
Copyright 21.2.2002 16:40 Page 3
WITHOUT THE ARTS, HUMAN BEINGS
THERE ARE PEOPLE WHO DON’T
WOULD BE… LESS HUMAN, MORE LIKE
CONSIDER ART TO BE WORK, SO THEY
ANIMALS IN THE WILD…
HAVE NO IDEA OF THE RESPECT THAT
AUTHORS DESERVE.
BUT STILL…
THAT’S IT! THAT’S JUST HOW MY PARENTS ARE!
YOU’RE GOING TO STARVE,
MUSIC MAN, YOU’LL SEE…
B O O K S T O R E
HO, HO, HO!
WRONG, BECAUSE I ALREADY KNOW HOW
TO EARN RESPECT!
R U B B I SH!
THAT’S JUST TALK!
Copyright 21.2.2002 16:40 Page 4
HI! WHAT’S GOING ON?
HI, CHULI!
WHAT A SURPRISE
TO SEE YOU HERE!
WE’RE TALKING ABOUT HOW I CAN MAKE A LIVING
FROM MY ART.
THINK, MARCO:
WELL, THAT’S
CAN COPYRIGHT HELP ME MAKE
YOU’RE WALKING
E A SY!
A LIVING FROM MY ART?
DOWN THE
JUST CLAIM
S T R E E T …
C O P Y R I G H T .
OF COURSE NOT, SILLY!
AND YOU SEE A HOUSE OR A CAR THAT YOU LIKE…
ONLY IF IT’S MINE…
CAN YOU JUST TAKE IT?
OR IF THE OWNER
LETS ME.
Copyright 21.2.2002 16:40 Page 5
THAT’S IT:
IF YOU COMPOSE A SONG OR WRITE A BOOK, WHAT ARE
EVERYONE KNOWS THAT,
YOU IN RELATION TO IT?
R I G HT? SO…
WELL… THE AUTHOR!
TO DO THAT HE WORKED HARD, INVESTING TIME, EFFORT,
WELL, THE AUTHOR’S
TALENT, AND OFTEN HIS OWN MONEY.
THE OWNER OF HIS
WORK; IT’S HIS BECAUSE
HE CREATED IT.
OK.
AND NO ONE CAN TAKE AWAY PROPERTY
WITHOUT THE OWNER’S PERMISSION.
THE ONLY ONE WHO CAN DISPOSE OF A WORK, BY SELLING OR HIRING IT, ALLOWING IT TO BE
REPRODUCED, LICENSING IT AND SO ON, IS THE AUTHOR.
Copyright 21.2.2002 16:40 Page 6
SO… IF I CREATE
OF COURSE, AND
THE DIFFERENCE IS THAT
A WORK, CAN I
THEN YOUR PARENTS
HOUSES AND CARS ARE
MAKE MONEY
WILL LEAVE YOU
THINGS YOU CAN TOUCH…
OUT OF IT?
IN PEACE.
BUT ALL GOODS, BOTH
INTELLECTUAL CREATIONS (SONGS, POEMS, SCREENPLAYS,
PHYSICAL AND INTELLECTUAL,
DANCES, ETC.) ARE THINGS YOU CANNOT TOUCH.
HAVE OWNERS WHOSE
RIGHTS SHOULD BE
R E S P E C T E D .
THE MEDIUM
IS PHYSICAL
(PAPER, CD,
TAPE), THE
CREATION IS
INTELLECTUAL
SO, IF YOU WANT TO BE A PERFORMER AND MAKE A LIVING FROM YOUR CREATIVE
WORK, YOU NEED TO KNOW MORE ABOUT COPYRIGHT.
Copyright 21.2.2002 16:40 Page 7
HOW DO YOU KNOW SO MUCH
ABOUT IT?
THEY GAVE ME THIS
BROCHURE
TELL US
ABOUT IT, THEN!
I WENT TO THE COPYRIGHT
OFFICE AND…
WE’VE SEEN
THE VALUE OF CREATIVITY
THE MAIN
PART…
CREATIVITY MAKES THE WORLD
GO ROUND…
THE IMPORTANCE OF REMEMBERING
WHICH GIVES HIM RIGHTS THAT
THAT THE AUTHOR IS THE OWNER OF
HAVE TO BE RECOGNIZED AND
HIS WORK,…
P R O T E C T E D
Copyright 21.2.2002 16:40 Page 8
ONLY HUMAN BEINGS ARE CAPABLE OF PRODUCING INTELLECTUAL
WHO CAN BE
WORKS, SO AN ANIMAL, MACHINE OR INSTITUTION CAN’T BE
AN AUTHOR?
AN AUTHOR.
S O R R Y ,
AURORA…
YOU ONLY MIMIC, YOU DON’T CREATE.
POOR LITTLE THING!
YES, THERE’S ALSO…
BUT AREN’T THERE
OTHER KINDS OF
A U T H O R S H IP?
JOINT AUTHORSHIP,
THE AUTHORSHIP OF
AND THAT OF WORKS
P S E U D O N Y M O U S
CREATED FOR AN
WORKS (WRITTEN
E M P L O Y E R .
UNDER AN ASSUMED
NAME),
THAT OF
ANONYMOUS
(UNSIGNED) W O R K S . . .
AND WHAT IF THE TWO
IT’S GENERALLY PRESUMED THAT THE RIGHTS IN WORKS
SIDES DON’T AGREE ON
CREATED ON COMMISSION OR AS AN EMPLOYEE
A N Y T H I NG?
HAVE BEEN ASSIGNED TO
THE EMPLOYER.
WELL,
Copyright 21.2.2002 16:40 Page 9
SO…
COPYRIGHT PROTECTS CREATIONS IN THE FORM OF LITERARY
AND ARTISTIC WORKS, WHATEVER THEIR NATURE,
MERIT OR PURPOSE.
S O C I O L O G Y
P O E T R Y
IT’S ALWAYS A GOOD IDEA
SO IT’S NOT ESSENTIAL TO
DO YOU HAVE
TO REGISTER A WORK, BUT
REGISTER; THAT MAKES
TO REGISTER
THE RIGHTS ACTUALLY COME
COPYRIGHT DIFFERENT FROM
THE WORK TO
FROM THE ACT OF CREATING
T R A D E M A R K S…!
Q U A L I FY?
THE WORK…
R I G H T
COPYRIGHT IS IN THE CREATION,
SAY YOU BUY A CD; YOU’RE ALLOWED TO LISTEN
LIKE MUSIC… AND THE RIGHTS OF
TO IT, BUT NOT TO MARKET THE SONG…
THE BUYER ARE IN THE PHYSICAL
OBJECT, LIKE THE CD.
ER… SORRY?…
RIGHT: I OWN THE CD, BUT THE
I DON’T GET IT
AUTHOR OWNS THE CREATION.
Copyright 21.2.2002 16:40 Page 10
BUT IF I’M RUNNING A BUSINESS,
ONLY IF YOU PAY FOR THE USE; REMEMBER:
CAN I PLAY THE SONG TO ATTRACT
BUYING THE CD MEANS LISTENING TO IT IS
C U S T O M E RS?
YOUR ONLY RIGHT.
WHAT ABOUT SOMEONE WHO CREATES
AND FOR
THE WHOLE OF THE AUTHOR’S
COMPUTER SOFTWARE?
HOW LONG IS
LIFE AND 50 YEARS AFTER HIS
A WORK
DEATH
P R O T E C T ED?
IT COUNTS AS A LITERARY
WORK; IT’S THE RESULT OF HUMAN
IN MANY COUNTRIES
I N G E N U I T Y
IT CAN BE AS MUCH AS 70 YEARS
AND FOR SO
IT GOES INTO THE PUBLIC DOMAIN, AND
OK, SO AN ARTIST
L O NG!
REPRODUCTION IS FREE
ACTUALLY CAN MAKE
BUT THEN
A LIVING FROM
W H AT?
WHAT IF
HIS WORK…!
SOMEONE ELSE
THEN SAYS THE
WORK’S HIS?
HE CAN’T. THE AUTHOR’S MORAL RIGHTS
(HIS AUTHORSHIP AND CONTROL OVER THE WORK)
GO ON FOREVER.
Copyright 21.2.2002 16:40 Page 11
PIRACY IS UNAUTHORIZED REPRODUCTION, SALE, HIRING OR
OTHER USE OF THE WORK. IN ANY FORM.
R E A DY?
PLUNDER AWAY,
ME HEARTIES!
AND WE DON’T EVEN
HAVE TO PAY!
PLAGIARISM IS THE DISTRIBUTION OF SOMEONE ELSE’S
WORK AFTER COPYING IT WORD FOR WORD OR PARAPHRASING
BOTH ARE INFRINGEMENTS
IT, AND ASCRIBING AUTHORSHIP TO ANOTHER PERSON.
OF COPYRIGHT, AND THAT’S
A CRIME!
YOUR WORK? BUT I’VE ALREADY
READ THIS BY ANOTHER
A U T H OR!
ER, UM… WELL,
HOW ABOUT
THAT?
BUT YOU CAN SOMETIMES USE A WORK
THAT’S RIGHT, FOR INSTANCE WHEN
WITHOUT ASKING THE AUTHOR FOR
WE LISTEN TO MUSIC AT HOME FOR
P E R M I S S I O N .
E N J O Y M E N T . . .
Copyright 21.2.2002 16:40 Page 12
OR WHEN ART AND LITERATURE ARE TAUGHT
AND YOU CAN REPRODUCE SMALL
IN SCHOOL FOR EDUCATIONAL PURPOSES.
FRAGMENTS OF A WORK TO CLARIFY
AN IDEA.
BACK IN THE 18TH
CENTURY...
RIGHT AGAIN: THAT’S THE RIGHT OF QUOTATION;
YOU MENTION THE AUTHOR AND THE SOURCE.
THANKS, YOU TWO.
THAT’S GIVEN ME SOME
OF COURSE!
SO NOW WE CREATORS HAVE
ARGUMENTS TO PUT
THEN THEY’LL RESPECT
A FUTURE AFTER ALL…
TO MY PARENTS.
YOU AS A CREATOR AND
OWNER OF RIGHTS.
A PRESENT AND A FUTURE!
MMMYES…
SO, VAN DALUS…?
I HAVE TO ADMIT
THAT YOUR PARENTS
HAVEN’T GOT IT
RIGHT; COME TO
THINK OF IT, YOU
MAY JUST HAVE
A FUTURE AS
AN ARTIST.
C O P Y R I G H T. Lima, October 2001. Published by agreement between the National Institute for the Defense of Competition and
Protection of Intellectual Property (INDECOPI) and the World Intellectual Property Organization (WIPO) • Scenario and Artwork:
Juan Acevedo / D e s i g n : Germán Luna, Jorge Llahuala / C o l o r : MarĂa Elena Sialer / Tr a n s l a t i o n : WIPO • C o r r e s p o n d e n c e :
WIPO, 34 chemin des Colombettes, 1211 Geneva 20 (Switzerland). E-Mail: wipo.mail@wipo.int. INDECOPI: Calle de la Prosa 138,
San Borja, Lima 41 (Peru). E-mail: postmaster@indecopi.gob.pe
