Expanding the frontiers of Nigerian copyright laws in the age of social media

The social media is an avenue which promotes intellectual creativity and a minefield of ideas which can be deployed into important works. The Copyright Act (Cap C28, LFN 2004), lists the works which are eligible for copyright protection. Works in digital format may or may not fit into these protected categories. Multimedia works obscure the clear cut distinction of categories of works as they combine works of different kinds. They are also not static as they evolve with technology. It has been recommended that the different categories of works be protected according to their distinct features. We opine that this is untidy and does not make for uniformity. Also, the concept of fixation (on a stable material or medium) seems difficult to sustain as a pre-requisite for the qualification of a creation as a copyright work since intangibility and a transitory nature are common features of works placed on the internet. Sequel to the above, it is imperative to fix certain duties on online service providers just like other countries have done; duty to give notice of illegal activities and duty of identification of infringers upon request of the investigative authorities. Infringers should also be made to account for profits while the infringing contents were up. Finally, due to the potential for commercial exploitation of user- generated contents on social media sites, they should use effective content identification technology to eliminate from their services all infringing user generated contents.Keywords: Copyright, Multimedia, Fixation, User- Generated Content, Social Media, Internet, Online Service Provider

Copyright law protection of films in Nigeria (Nollywood) and South Africa (Sollywood):pre and post-COVID‐19 pandemic

The Covid-19 pandemic inflicted socioeconomic harm on an unprecedented scale. Across the world and to varying degrees, cinemas were closed, festivals were cancelled or postponed, and film releases were moved to future dates or delayed indefinitely. In 2020 the entire global theatrical and home/mobile entertainment market totalled $80.8 billion, the lowest figure since 2016 and a decline of 18% from 2019. Theatrical entertainment accounted for only 15% of the total global entertainment revenue, compared to 43% in 2019. While some has been written about the effects of Covid-19 on both international and local film industries, this article seeks to provide an African perspective focusing on the realities in Nigeria and South Africa, respectively. This article examines the importance of filmmaking industries in Nigeria and South Africa as well as the difficulties faced during the Covid-19 pandemic. Copyright laws in both terrains are critically reviewed based on the capacity of these laws to protect the interests of film industries pre and post-Covid-19

Exclusivity in the 6th edition of Nigeria Broadcast Commission (NBC) Code and a glimpse of the practice in South Africa and the United Kingdom

In Nigeria, the giants in the broadcast of films and sports perceive the 6th edition of Nigeria Broadcast Commission (NBC) Code as a means for others to benefit from their hard work in the industry. The Code makes it obligatory for broadcasters to sub-license their acquired or generated creative content to other broadcasters. Even though NBC has tried to justify its actions by claiming it is to promote competition, most perceive the provision as anti-competitive and a means to cripple the industry by discouraging the haves. This article critically examines the provisions of the Code on broadcast of films and sports. In addition, the practice in South Africa and the UK is explored to determine if similar practices occur in these jurisdictions. This article suggests a collective and negotiation approach between the regulators and the stakeholders (including the haves and the have-nots) in amending the Code