WEBVTT - Op den Kamp on History of Intellectual Propery

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<v Speaker 1>Welcome to the Bloomberg Law Podcast. I'm June Grosso. Every

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<v Speaker 1>day we bring you insight and analysis into the most

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<v Speaker 1>and on Bloomberg dot com slash podcasts. What did the

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<v Speaker 1>Corset Oscar Wild's portrait and Mike Tyson's tattoo have in common?

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<v Speaker 1>There were all subjects of intellectual property lawsuits. The history

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<v Speaker 1>of intellectual property reflects the history of law, sociology, science, technology, media,

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<v Speaker 1>and even horticulture. Joining us to talk about new book,

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<v Speaker 1>A History of Intellectual Property in Fifty Objects is Dr

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<v Speaker 1>Cloudy opt in camp a senior lecture in film at

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<v Speaker 1>the Center for Intellectual Property Policy and Management at Bournemouth University.

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<v Speaker 1>So Cloudie, why did you choose these fifty objects in

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<v Speaker 1>particular to represent the history of I P right? Great question,

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<v Speaker 1>Jurne high Um well as editors, we we commissioned chapters

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<v Speaker 1>to to the authors that you know, we approached for

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<v Speaker 1>their specific expertise, and so sometimes we proposed the objects,

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<v Speaker 1>at other times it was them. But we needed all

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<v Speaker 1>of these objects to demonstrate a few things. So highlight

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<v Speaker 1>the actual object, talk about the objects i P story,

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<v Speaker 1>and then more importantly, perhaps show is larger societal story

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<v Speaker 1>and why that possibly still matters today. And so certain

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<v Speaker 1>objects were clear from the very beginning, right so the lightbulb,

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<v Speaker 1>the barbie doll, the lego block, they're just such great

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<v Speaker 1>everyday objects that have interesting i P stories with with

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<v Speaker 1>lingering meaning. But we also had categories that were clear

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<v Speaker 1>from the beginning. So we knew we wanted to have

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<v Speaker 1>objects that had to do with the relationship between music

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<v Speaker 1>and intellectual property, for instance, and we ended up expressing

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<v Speaker 1>um that through the player piano role, the audio tape

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<v Speaker 1>cassette and the CD. We also have other categories such

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<v Speaker 1>as women's history or luxury items. Um. I'd say that

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<v Speaker 1>overall it was this large puzzle for a long time

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<v Speaker 1>in which we didn't only try to balance the objects

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<v Speaker 1>with their contributors, but also with a certain geographical diversity

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<v Speaker 1>and and for instance, also a more or less fair

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<v Speaker 1>representation of the different h i P regimes. And you

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<v Speaker 1>know what, this story could also be told through fifty

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<v Speaker 1>other objects. And that's one of the main reasons why

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<v Speaker 1>we have called this book a history and not the

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<v Speaker 1>history of I p Let's discuss a few of the objects.

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<v Speaker 1>So let's start with Oscar Wild portrait number eighteen, a

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<v Speaker 1>case that made its way to the Supreme Court. Tell

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<v Speaker 1>us a little bit about that. So, UM, I think

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<v Speaker 1>that a lot of people might actually be familiar with

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<v Speaker 1>this portrait, but they might not realize that there's an

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<v Speaker 1>ip story connected to it. So this image was part

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<v Speaker 1>of the series, and it was taken by UM, a

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<v Speaker 1>photographer UM in New York and Napoleon Seroni in in

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<v Speaker 1>eight two UM and the pictures were distributed as trade

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<v Speaker 1>cards before Oscar Wild would arrive in the US when

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<v Speaker 1>he would do a lecture tour. But then the Burragiles

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<v Speaker 1>Lithographic company used one of these pictures, this number eighteen,

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<v Speaker 1>for a hat advertisement. And and the funny detail I

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<v Speaker 1>think here, of course, is that Wild isn't even wearing

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<v Speaker 1>a hat in in any of these images. So we

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<v Speaker 1>can start to see the larger sort of celebrity cultials

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<v Speaker 1>UM that were very familiar with today. Seroni then filed

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<v Speaker 1>a copyright infringering case against this company, and the case,

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<v Speaker 1>as you said, went all the way to the Supreme Court,

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<v Speaker 1>where it was decided to extend copyright protection to photography,

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<v Speaker 1>which which wasn't the case before, and this was of

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<v Speaker 1>course a landmark decision, as a photograph became sort of

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<v Speaker 1>the same as a as a novel. So going forward

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<v Speaker 1>about a hundred twenty years, we have Mike Tyson's facial tattoo.

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<v Speaker 1>An exact copy of it was used on the face

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<v Speaker 1>of actor Ed Helms in Hangover Too. And actually Tyson's

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<v Speaker 1>tattoo artist had copied it from the Mayori people of

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<v Speaker 1>New England. This is just fascinating, right, It's it's really

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<v Speaker 1>interesting that you've picked up on this specific entry because

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<v Speaker 1>this has been happening quite a bit since since the

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<v Speaker 1>book um has come out, so it's really interesting. Um

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<v Speaker 1>this is of course a very unique object, but it's

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<v Speaker 1>it's also one of the enters in the book that

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<v Speaker 1>that sort of questions what an object even is in

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<v Speaker 1>the context of what we've tried to do. Um So,

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<v Speaker 1>so a little bit a backstory perhaps here. The book

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<v Speaker 1>has somewhat of an Australian origin and we wanted it

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<v Speaker 1>to reflect that. So uh at ten contributors are so

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<v Speaker 1>um Um you know, are part of Swinburne University, where

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<v Speaker 1>my co editor Dan Hunter is um the dean of

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<v Speaker 1>the law school. But the theme of dan Under is

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<v Speaker 1>also reflected in the objects, right, so we have the

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<v Speaker 1>WiFi router, the polymer bank note, the Quanta sky beads,

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<v Speaker 1>which are all Australian. But we also wanted this this

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<v Speaker 1>theme of traditional knowledge in the book, and that's where

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<v Speaker 1>the chapter on on Mike Tyson's tattoo comes in because

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<v Speaker 1>it specifically speaks to that topic of cultural appropriation. So

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<v Speaker 1>Tyson's tattoo artists he sued Warner Brothers for using the

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<v Speaker 1>tattoo in the film The Hangover Too, which then started

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<v Speaker 1>this incredibly interesting and and sort of intertwined story of

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<v Speaker 1>claims of ownership that involved tattoo artists in New Zealand

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<v Speaker 1>but also in the Pacific Northwest region because they all

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<v Speaker 1>debated whether this particular tattoo was actually Maori or tribal.

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<v Speaker 1>But The Hangover as a franchise, of course, is one

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<v Speaker 1>of the highest grossing R rated comedies ever made, so

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<v Speaker 1>this was potentially worth a lot of money, and Warner

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<v Speaker 1>almost digitally removed the tattoo from every frame of the

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<v Speaker 1>film before UM it would be released on on home

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<v Speaker 1>video UM. But eventually the case got settled out of

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<v Speaker 1>court now, um, just a few minutes here. But an

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<v Speaker 1>interesting object is also the iconic Chanel two point fifty

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<v Speaker 1>that you say at handbag, because, as you say, Coco

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<v Speaker 1>Chanelle wasn't so concerned about knockoffs. But Chanel today certainly

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<v Speaker 1>is absolutely the person of two five five, which is

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<v Speaker 1>named that way, by the way, for um. Its release

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<v Speaker 1>date of February five is both a highly coveted luxury

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<v Speaker 1>item but simultaneously one of the most copied once and

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<v Speaker 1>this sort of interestingly reflects the history of the company.

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<v Speaker 1>So she herself, Cocus now released sketches of her works

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<v Speaker 1>ahead of shows, and she wanted people who couldn't afford

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<v Speaker 1>her items to to actually buy imitation, which she saw

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<v Speaker 1>as the highest form of flattery. So as long as

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<v Speaker 1>they thought of Chanelle, she she was happy. But of course,

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<v Speaker 1>the current house of Shanelle tries to do everything they

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<v Speaker 1>can to stop the proliferation of counterfeit goods. Right, um,

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<v Speaker 1>And I promised myself if if the book does really well, um,

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<v Speaker 1>I've decided I will get myself a real one as

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<v Speaker 1>a as a present. Oh my goodness, what do they

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<v Speaker 1>run nowadays? It depends on it depends on the material

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<v Speaker 1>that you're buying, but I would say like maybe five

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<v Speaker 1>six thousand dollars. Well, you have some really fascinating pictures

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<v Speaker 1>in the book, and also there are pictures of Fridgitte

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<v Speaker 1>Bardeaux with this and all the different historical figures as

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<v Speaker 1>well as celebrities that have that have had that bag.

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<v Speaker 1>I would like one too, but I don't think it's

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<v Speaker 1>coming my weight. Thank you so much, cloud it's fascinating book.

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<v Speaker 1>It's called The History of Intellectual Property in fifty Objects.

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<v Speaker 1>That was Cloudy Opton camp Senior lecture in Film at

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<v Speaker 1>the Center for Intellectual Property Policy and Management at Bournemouth University.

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<v Speaker 1>Thanks for listening to the Bloomberg Law Podcast. You can

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<v Speaker 1>subscribe and listen to the show on Apple Podcasts, SoundCloud

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<v Speaker 1>and on Bloomberg dot com slash podcast. I'm June Brosso.

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<v Speaker 1>This is Bloomberg