Around the periodicals
Right: the Royal Courts of Justice, London -- an effective device for the distribution of wealth ...
Another notable piece in this issue comes from Mike Thumm (Chipworks), which looks at reverse engineering -- not from the traditional point of view of working out how you can make a competitor's products but from a strategic, IP-management perspective.
The 8-times a year Sweet & Maxwell Journal of Business Law (see webpage here) is not known for its IP content, but every so often it publishes a substantial item in that area. Issues 3 and 4 have recently been published. Issue 3 has nothing on IP as such, but "Termination of a Contract by a Party in Breach", by Australian academic Wayne Courtney, covers in general terms a topic that is of keen interest to IP licensors and their licensees, for obvious reasons. Issue 4 has a major feature by two Singaporean academics, Cheng Lim Saw and Susanna H. S. Leong, "Defining Criminal Liability for Primary Acts of Copyright Infringement: the Singapore Experience". These are the same authors, the IPKat favourably recalls, who wrote a very good piece, "Copyright Infringement in a Borderless World - Does Territoriality Matter?", in the Spring 2007 issue of Oxford University Press's International Journal of Law and Information Technology.
Out of the same stable as the JBL but with a very much more frequent IP-specific content is the bimonthly collection of European Commercial Cases (see here for title details). This issue features two IP cases:
* Experience Hendrix LLC v Purple Haze Records Ltd and others (Court of Appeal, England and Wales, noted here by the IPKat), a ruling on whether the provisions of the Copyright, Designs and Patents Act 1988 applied to performances made by a performer before that Act came into force and where the performance took place in a country that was not, at the time it took place, a "qualifying performance";
* Jean-Philippe X v Universal Music and others (Cour de Cassation de Paris), a case explaining the position under French law where a producer continued to exploit the exclusive rights vested in him by a contract that was later rescinded, the contract itself being silent as to the effect of rescission.