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                <text>Research</text>
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                <text>&lt;p class="p1"&gt;&lt;span class="s1"&gt;Entries in this section of the Copyright Cortex include both peer-reviewed and non-peer-reviewed research, exploring the law of copyright and its effects on policy and practice in a variety of cultural heritage contexts. From managing the risks associated with making orphan works available online to claiming copyright in digital surrogates of public domain works, this section catalogues data, evidence, and commentary across a wide range of topics. &lt;/span&gt;&lt;/p&gt;
&lt;p class="p1"&gt;&lt;span class="s1"&gt;If you have any recommendations for material that should feature in this section of the Copyright Cortex please do let us know. You can contact us at: &lt;/span&gt;&lt;a href="mailto:info@copyrightcortex.org"&gt;&lt;span class="s2"&gt;info@copyrightcortex.org&lt;/span&gt;&lt;/a&gt;&lt;/p&gt;</text>
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            <text>https://www.pennlawreview.com/print/old/Allan.pdf</text>
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            <text>10.2307/40041330</text>
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          <name>Title</name>
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              <text>After 'Bridgeman': Copyright, Museums, and Public Domain Works of Art</text>
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              <text>Robin J. Allan</text>
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              <text>2007-04-01</text>
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              <text>Part I of this Comment describes the Bridgeman decisions themselves. Part II examines the history of American copyright law and the idea of the public domain, and explores the historical roots of the originality requirement and the copyrightability of photographs. Part III addresses the Bridgeman court’s interpretation of the originality requirement, its dismissal of Bridgeman’s arguments, and the prospect of a post-Bridgeman world in which museums rely on contract remedies, rather than copyright, to the detriment of the public. This Comment suggests that the Bridgeman decision should not be a model for other courts: following this decision would foster an inaccurate analysis of the originality requirement, draw revenue away from museums, discourage the creation of high-quality reproductions, and, most importantly, diminish the rights of viewers through increasingly constrained contracts of adhesion. The law and the public would both suffer if the ideas in the Bridgeman decision were widely adopted. &#13;
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              <text>In Copyright</text>
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              <text>Victoria Stobo</text>
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              <text>CleanUrl: after-bridgeman-copyright-museums-public-domain-works-of-art</text>
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          <name>Description</name>
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              <text>This case comment argues that the Bridgeman v. Corel Corp decision was incorrect: the interpretation of the originality requirement was misjudged in two ways, being both too 'broad' with the sweat of the brow doctrine, and too 'narrow' with the level of creativity required. </text>
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              <text>University of Pennsylvania</text>
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      <description>Extra CC fields for copyright information</description>
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          <name>Size</name>
          <description>Details about the size of the resource (can be Bytes, Pages or Duration, depending on item type.)</description>
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          <name>Keywords</name>
          <description>A selection of keywords that pertain to the article attached.</description>
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              <text>public domain</text>
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              <text>visual art</text>
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          <name>Visual Date</name>
          <description>Date of creation or availability of the resource that is shown to users. To be formatted as follows: 2017 January 7</description>
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              <text>2007 April 01</text>
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      <name>Bridgeman Art Library</name>
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      <name>contracts</name>
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      <name>legal dispute</name>
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