Ms Anne Barron NAB6.05

This course is available on the LLM (extended part-time), LLM (full-time), MSc in Law and Accounting and University of Pennsylvania Law School LLM Visiting Students. This course is available with permission as an outside option to students on other programmes where regulations permit.

This course will be relevant to the following LLM specialisms: Competition, Innovation, and Trade Law; Corporate and/or Commercial Law; Information Technology, Media and Communications Law; Intellectual Property Law.

This course is capped at 30 students. Students must apply through Graduate Course Choice on LSE for You.

Students  must take Principles of Copyright Law (LL4N6) in parallel with this course unless exempted by the course convenor.

The aim of this course is to equip students with the skills to reflect critically on global copyright policy today. ‘Global copyright policy’ in turn is interpreted broadly to include not only the purposes and strategies underlying the formal treaties and trade arrangements that shape national copyright laws, but also those motivating the many alternative (and radically alternative) agendas for copyright's future that are currently under consideration around the world. Discussion in seminars will be theoretically informed but organised around particular topics of contemporary concern.

20 hours of seminars and 2 hours of help sessions in the MT.

Students on this course will have a reading week in Week 6, in line with departmental policy. A help session is however offered in week 6 to assist with planning the summative essay. The help session will be designed to support students' summative essay-writing work. All students will be invited to attend this session, during which expectations for the essays will be explained.

One 1500 word essay.

There is no set text. Readings will be assigned week-by-week and most will be available electronically via the Moodle site that accompanies this course. Students will be expected to read a wide range of material drawn from a number of disciplines. The following sources are indicative: Peter Baldwin, The Copyright Wars: Three Centuries of Trans-Atlantic Battle (Princeton UP, 2014); Yochai Benkler, The Wealth of Networks (Yale UP 2006); Ronald Bettig, Copyrighting Culture (Westview Press, 1996); James Boyle, The Public Domain (Yale UP, 2008); Patrick Burkart, Pirate Politics: The New Information Policy Contests (MIT Press 2014); Julie E. Cohen, Configuring the Networked Self: Law, Code, and the Play of Everyday Practice (Yale UP, 2012); Laurence Helfer and Graeme Austin, Human Rights and Intellectual Property: Mapping the Global Interface (Cambridge University Press, 2011); Tarleton Gillespie, Wired Shut: Copyright and the Shape of Digital Culture (MIT Press 2008); David Hesmondhalgh, The Cultural Industries 3rd ed. (Sage 2012); Adrian Johns, Piracy: The Intellectual Property Wars from Gutenberg to Gates (University of Chicago Press 2011); Jessica Litman, Digital Copyright (Prometheus, 2006); Kembrew McLeod et al. Creative License: The Law and Culture of Digital Sampling (Duke UP, 2011); Neil W. Netanel, Copyright’s Paradox (OUP 2008); Hector Postigo,The Digital Rights Movement (MIT Press, 2012); Aram Sinnreich, The Piracy Crusade: How the Music Industry's War on Sharing Destroys Markets and Erodes Civil Liberties (University of Massachusetts Press, 2014); Stephen Witt, How Music Got Free (Viking 2015)

Essay (100%, 8000 words) in the ST.