While the film's prime market was the US, the film was made in the UK, which was why the ensuing litigation came before Sir Richard in July of this year in Sony/ATV Music Publishing LLC & Another v WPMC Ltd & Another [2015] EWHC 1853 (Ch) (there were also parallel proceedings in the US, which required the court to apply both UK and Federal US law).
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Turning now to the reform of UK copyright legislation (s 30(1ZA) of the Copyright, Designs and Patents Act 1988) and the possible insertion of the words "or otherwise" into the statute governing fair dealing by quotations, Sir Richard compared the parameters of this proposal with the US doctrine. Would it have applied on the facts of Sony/ATV? Was this use a "quotation"? Was it a "fair dealing" and was more copied than was necessary for the user's purpose? (there being no need to establish the the original work was published and that there was sufficient acknowledgement). This use would be a quotation of the work, rather than from it. Would the result of Sony/ATV have been any different under UK law? No -- though the fact that the quotations defence is not limited to any specific purpose for the quotation.
Next to speak was Anna Carboni (Redd), on the topic "Marks and names, labels and litigants" -- or rather on the subject of "Cats, KitKats and IPKats". Anna opened with her recollections of SABEL v Puma, when a full panel of the European Court of Justice (as it then was) first explained the meaning of Article 4(1)(b) of the then Trade Marks Directive 89/104. "Analogous semantic content" between two marks was not, it seemed a ground on which one was obliged to conclude that there was a likelihood of confusion.
Anna then took the audience through the CJEU ruling in Case C-383/12 P Wolf Head. What evidence of detriment to distinctive character through change in the consumer's economic behaviour was required? Said the court, evidence of a "serious risk" was needed, but this must be based on logical deductions and not mere suppositions. Eventually the Wolf Head mark was allowed to go to registration, but we still need examples of actual cases of real evidence -- something that the CJEU and General Court have been unable to deliver.
Next came an excursus into the world of non-traditional marks, with an explanation of the Community trade mark application by MGM to register the roar of a lion. OHIM struggled with the sonogram that had been submitted as a representation of the roar, and with the absence of verbal guidance as to its interpretation. Following the CJEU ruling in Sieckmann on the criteria of registration of non-traditional marks, the OHIM Board of Appeal still rejected the appeal but this gave MGM the chance to reapply with a more descriptive form of sonogram. Things will soon be changing: the "graphical representation" requirement will be replaced by any form of description or recordation that enables examiners and members of the public to understand what has been registered.
Anna then turned to the sagas of two Nestlé applications: these related to the Have a Break slogan and the shape of the four-fingered KitKat chocolate bar. In the Have a Break case (Case C-353/03), the CJEU confirmed that, for the purpose of distinctive character acquired through use, "use" meant "use", regardless of whether it was use by itself or in conjunction with another mark, so long as consumers would regard it as serving a trade mark function. As for the four fingers, survey evidence showed that very large proportions of surveyed members of the public recognised the four fingers were attached to the Nestlé product, but not that they relied on it when identifying Nestlé's goods. UK case law however required some form of reliance. This triggered a reference to the CJEU on, among other things, whether reliance was part of EU law too -- a puzzling reference since the CJEU rewrote and only partially answered the questions referred.
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