The TMCA
Data Protection and Privacy
India Draft Digital Personal Data Protection Rules, 2025
This post was written by Indian Law expert, Cyril Abrol, of the law firm Remfry & Sagar and republished with permission from Remfry & Sagar. For more information about Remfry & Sagar and their attorneys, please visit: https://www.remfry.com/. On January 03, 2025, the government released the much awaited draft Digital Personal Data Protection Rules, 2025, (Draft Rules / Rules) for public consultation and invited stakeholder feedback by February 18, 2025 (access the Rules here). The Rules aim to provide an operational framework for the Digital Personal Data Protection Act, 2023 (DPDP Act /Act) which was enacted on August 11, 2023, establishing a framework for protecting digital personal data by regulating its processing in India (read a synopsis here and here). It is also applicable to processing digital personal data outside India, if it involves providing goods or services to data principals (individuals to whom the personal data relates) within the territory of India. Highlights of the Rules include: Notice for consent To obtain informed consent from a Data Principal, a Data Fiduciary must provide it with a clear and standalone notice outlining what data is to be collected, the purpose for the processing, and details of goods /services to be provided or uses to be enabled by the data processing. Additionally, it should contain a direct communication link through which data principals may withdraw consent, file a complaint to the Data Protection Board (‘Board’) etc. Consent Managers The DPDP Act defines a ‘Consent Manager’ as “a person registered with the Board who acts as a single point of contact to enable a data principal to give, manage, review, and withdraw consent through an accessible, transparent, and interoperable platform.” Under the Rules, a Consent Manager must be a company incorporated in India, having a minimum net worth of INR 20 million to ensure financial stability and have a sound reputation and record of fairness, integrity and operational capacity. Security Safeguards Data Fiduciaries must implement measures such as encryption, obfuscation or masking of personal data, access control, monitoring of breaches and unauthorized activities as well as ensure continuity in processing. The Rules set out minimum technical safeguards that include: (i) implementation of access control measures; (ii) maintenance and monitoring of logs of PD access; and (iii) maintenance of back-up data. Data Breach Notification The Rules mandate that all personal data breaches must be reported to both affected users and the Board. Upon becoming aware of a breach, organisations are required to immediately notify affected individuals with comprehensive details including the breach's description, nature, extent, timing, location, potential consequences, risk mitigation and recommended safety measures and contact information for inquiries. Similar information must be concurrently reported to the Board within 72 hours of becoming aware of the breach. Data Retention Policies E-commerce platforms with over 20 million registered users, online gaming intermediaries with over 5 million users and social media intermediaries with over 20 million users must delete user data after 3 years of inactivity. Children's and Disabled Persons’ Data Data fiduciaries must implement measures to ensure that consent for a child’s data is given by their parent and verification is performed to confirm that the consenting party is an adult. Consent for a disabled person is to be obtained from their legal guardian and it must be verified that the guardian has been appointed under applicable guardianship laws. However, there is ambiguity on how it will be established that a Data Principal is a minor or a person with disability. Further, certain Data Fiduciaries, such as healthcare providers or educational institutions, may be exempt from specific obligations when processing children’s data, under defined conditions. For instance, educational institutions are exempt where they track and behaviourally monitor children for educational activities or for safety reasons. Also, processing of personal data for research, archival, or statistical purposes is exempt if it complies with prescribed safeguards (listed in Schedule II to the Rules). Cross-Border Data Transfer Guidelines Restricted /prohibited territories have not yet been notified. Data fiduciaries must ensure compliance with conditions set by the government, through general or special order, for making personal data available to foreign states or entities. Annual Data Protection Impact Assessments (DPIAs) If the Central Government identifies an entity as a Significant Data Fiduciary based on enumerated factors, including volume and sensitivity of the data processing, that entity must conduct annual DPIAs to assess risks associated with their data processing activities and submit their findings to the Board. Once the Rules are finalised, the government will begin appointing members of the Board. Rules meant for businesses /industry will likely take effect in a staggered manner – one report hints at a two year sunrise period for industry to transition to the new law.
January 27, 2025
Trademarks
Key Changes to the Korean Trademark Law to be Enacted in 2025
This post was written by Korean Law experts, Sue Su-Yeon CHUN and Clare Ryeojin PARK of the law firm Kim & Chang and republished with permission from Kim & Chang. For more information about Kim & Chang and their attorneys, please visit: https://www.kimchang.com/en/main.kc. For more insights on intellectual property from Kim & Chang, please visit: https://www.ip.kimchang.com/en/insights/index.kc. On December 27, 2024, the Korean National Assembly passed a proposed amendment to the Trademark Act ("Amendment") which will be enacted six months following the date of promulgation. Under the Amendment, (1) the trademark opposition period will be shortened to 30 days; and (2) the limit on punitive damages for intentional trademark infringement will be raised. Details are set out below. Opposition period to be shortened from 2 months to 30 days Under the current law, anyone can file an opposition with the Korean Intellectual Property Office ("KIPO") against a trademark application within 2 months of the date of its publication. However, many people file trademark applications at the time of launching the relevant product or with respect to trademarks that are already in use, and in addition, only about 1% of all published applications encounter oppositions. Recognition of the above, led to the consensus that the opposition period should be shortened so that trademarks can be registered more quickly. For applicants, this amendment will expedite the overall registration process. Potential opposers will have to keep a very close eye on publications given the very short opposition period. As is the case now, however, it will remain possible, to first file a simple notice of opposition before the end of the opposition period and submit a detailed opposition petition within a 30 day period (extendible for national applications) after the opposition period expires. In addition, an information brief can be filed with KIPO to preemptively block the registration of a trademark before the mark is published. The Amendment will only apply to trademarks that are published after the date of enactment. Punitive damages limit to be increased from 3 times to 5 times Under the current law, trademark owners are entitled to claim damage compensation from an infringer based on the infringer's profits gained from the infringement, the trademark owner's lost profits due to the infringement, or reasonable royalties. However, trademark owners are frequently hindered from recovering an adequate amount of damages, as there are practical difficulties in substantiating the damages actually incurred. To address this, an earlier amendment to the Trademark Act (amendment of October 2020) introduced the concept of punitive damages and currently, punitive damages of up to 3 times the amount of actual damages can be sought for intentional acts of infringement. The Amendment reinforces the punitive damages provision by increasing the limit to 5 times the amount of actual damages. By doing so, further pressure will be placed on potential infringers preemptively, while entitling trademark owners to a more realistic remedy for damages incurred. The Amendment will apply to acts which occur after the date of its enactment.
January 10, 2025
Copyrights
Andy Warhol’s Prince Series Portraits Held Fair Use of Photograph
Earlier this summer, in The Andy Warhol Foundation for the Visual Arts v. Goldsmith, the federal district court for the Southern District of New York held that Andy Warhol’s artwork series depicting the late singer Prince was protectable fair use of a photograph taken by Lynn Goldsmith. Goldsmith photographed Prince in her studio in late 1981. Three years later, Condé Nast obtained a license to use one of Goldsmith’s black and white photographs “for use as an artist’s reference in connection with an article to be published in Vanity Fair Magazine.” The invoice for the license did not specify which of Goldsmith’s photos from the studio shoot was licensed and Goldsmith was not aware at the time that her photograph had been licensed by her photography agency for use as an artist’s reference. Vanity Fair commissioned Andy Warhol to create an illustration for an article titled “Purple Fame.” Based on Goldsmith’s photograph, Warhol created a full color illustration of Prince that ultimately appeared in the article that was published in November 1984. The article contained the following copyright attribution credit for the portrait: “source photograph (c) 1984 by Lynn Goldsmith.” Warhol also created the “Prince Series”, comprised of 16 distinct pieces of artwork, including the one used in the November 1984 Vanity Fair “Purple Rain” article. The series was displayed multiple times in museums, galleries, books, magazines and other locations. Goldsmith contended that she was not aware of Warhol’s use of her photo until after Prince’s death in 2016. The day after Prince died, Vanity Fair published an online copy of its November 1984 “Purple Rain” article, and then issued a commemorative magazine titled “The Genius of Prince”. It obtained a license to use Warhol’s Prince Series works as the cover of the magazine, and the commemorative issue published in May 2016 displayed a copyright credit only to Warhol, not to Goldsmith. In response to Goldsmith’s accusation of. copyright infringement, the Warhol Foundation brought an action for declaratory judgment that none of the sixteen works in the Prince Series infringed Goldsmith’s copyrighted photograph. It argued that the works were not substantially similar and, in any event, the Prince Series was protected by the fair use doctrine. Goldsmith counterclaimed for infringement, and the parties filed cross-motions for summary judgment. In a decision dismissing Goldsmith’s copyright infringement claim, Judge John Koeltl of the Southern district analyzed the four actors identified by Congress as relevant to the adjudication of a fair use defense: (1) the purpose and character of the use; (2) the nature of the copyrighted work; (3) the substantiality of the portion used in relation to the copyrighted work as a whole; and (4) the effect on the potential market for or value of the copyrighted work. Under the first factor, the court explained that the most important consideration is the “transformative” nature of the work at issue. A “transformative” work adds something new to the original copyrighted work, such as expression, meaning, message, character or aesthetics, with creative and communicative results distinct from the original. Judge Koeltl noted that the Prince Series depicted the singer as a flat, two-dimensional figure, rather than the three-dimensional being in Goldsmith’s photograph. Furthermore, the Prince Series contains loud colors and undefined softened exteriors, in contrast to the original stark black and white photograph. Because of this different aesthetic and character, the court determined that the Prince Series was transformative. An amusing footnote in the fair use analysis noted that during oral argument on the summary judgment motions, Goldsmith’s counsel suggested that fair use is “almost like you know it when you see it” — an obvious allusion to Supreme Court Justice Potter Stewart’s test for obscenity. Judge Koeltl commented in response that this analogy would not benefit Goldsmith: “If that were the test, it is plain that the Prince Series works are ‘Warhols’ and the Goldsmith Prince Photograph is not a ‘Warhol.’” The first fair use factor accordingly weighed strongly in favor or the Warhol Foundation. Under the second factor, the court considered whether Goldsmith’s photograph was expressive or creative vs. factual or informational and whether the photograph was unpublished vs. published. Although Goldsmith’s studio photo on which the Prince Series was based was creative and had never been published, the court found that it had been licensed as an artist’s reference. Further, the court held that the second factor’s significance in the fair use analysis is diminished where the secondary work is transformative. As a result, the second factor favored neither party. As to the third factor, the court evaluated the substantiality of the portion used in relation to Goldsmith’s photograph as a whole. Goldsmith argued that Warhol’s Prince Series contained “the essence” of her photograph, while the Warhol Foundation countered that Warhol used only a portion of the photograph and that the Prince Series, in final form, “contain none of the protectable elements of Goldsmith’s photograph.” The court concluded that the Series, in removing nearly all the photograph’s protectable elements of the photograph, “transformed Goldsmith’s work ‘into something new and different and, as a result, this factor weighs heavily” in the Warhol Foundation’s favor. The fourth factor also favored the Warhol Foundation. In considering the effect on the value of the copyrighted work, the court observed that “It is plain that the markets for a Warhol’s and for a Goldsmith fine-art or other type of print are different” and that Goldsmith had not established that the Prince Series works were market substitutes for her photograph. In sum, undertaking a “holistic weighing” of the four fair use factors, the court concluded that the Prince Series was a protected fair use, and dismissed Goldsmith’s claim for copyright infringement. The decision provides fascinating insights into Warhol’s creative process and also demonstrates the powerful significance of a finding that a work is transformative in the four factor fair use analysis. Dorsey & Whitney summer associate Amy Jones contributed to this post.
August 22, 2019
Trademarks
Practice Update: Amendments to Canada Trademark Law to Take Effect June 17, 2019
The long awaited date for implementation of Canada’s amended Trademarks Act has been announced. The amendments will come into force on June 17, 2019, creating significant changes for trademark practice in Canada. The amendments to the Trademarks Act, announced in 2014, were made to allow Canada to join five international IP treaties, including the Madrid Protocol, Singapore Treaty, and Nice Agreement. Some of the major changes include the following: Applicants will be required to use the Nice Classification administered by the World Intellectual Property Organization (previously there was no class system or identification of class necessary in Canada). As a result, applicants will now be required to pay registration fees per class identified, as opposed to a single application fee of $250 CAD that is presently used. Given this significant increase, it may be worthwhile to consider filing multi-class applications now, to avoid the increase in filing fees. Applicants will no longer be required to identify a date of first use at the time of filing and Declarations of Use will no longer be required for registration (both for new applications and pending applications). Notably, practitioners in Canada anticipate this will lead to an increase in the number of trolls and squatters applying to register trademarks in Canada. There have already been reports of a sharp increase in 2017 in the number of applications filed in Canada covering all 45 classes of the NICE Classification, something that was relatively rare in Canada before 2017. It will be possible to divide an application in Canada which will allow applicants to manage the speed at which applications are registered when there may be challenges to only some of the identification of goods or services in an application. The government registration fee will be eliminated from the application process, though application filing fees and renewal fees will be increased. The application filing fee will be $330 CAD for the first class plus $100 CAD for each additional class (v. current $250 CAD filing fee). The registration renewal fees will be $400 CAD for the first class plus $125 CAD for each additional class (v. current fee of $350 CAD). The term of registration in Canada will be reduced from 15 years to 10 years (the 15-year term for existing registrations will not change). Canada will officially accede to the Madrid Protocol, meaning Canada may be designated in an International Registration filed with WIPO. Given the significant changes that will impact trademark registration and enforcement procedure in Canada, now is the time to consider Canadian registration strategy for important brands. Expansion of existing registered protection to guard against the likely onslaught of trolls and squatters should be prioritized, as well as consideration of filing of multi-class applications now, before fee changes take effect. We will post further updates as implementation of the amended law progresses. Stay tuned to The TMCA.
November 30, 2018
Trademarks
Practice Update: Amendments to Mexico IP Law
From time to time, we publish updates on changes to trademark laws that may impact our readers and their IP registration and enforcement strategies. Once again, Mexico is making changes to its trademark system (recall Mexico added an opposition system in 2016). The proposed amendments are extensive and contain provisions related to new protection for non-traditional trademarks, nullity and opposition procedure, and amendments to provisions on well-known and famous brands, as well as many others. The following are a few notable amendments that may immediately impact use, filing and maintenance strategy: For all trademark registrations granted from the effective date, trademark owners must file a declaration of use within three months from the third anniversary of the registration. No extensions will be available and failure to file will result in cancellation of the registration. Registrants filing renewal applications will be required to file a declaration of real and effective use of the mark in Mexico in connection with at least one of the products or services covered by the registration. Trademark applicants will be required to identify a date of first use of the trademark in Mexico. Failure to identify a date of first use will be deemed as a voluntary declaration of no earlier use in Mexico. This requirement will exist regardless of the fact that use is not required to prosecute the application or achieve a registration in Mexico. It is possible the failure to identify a date for a mark in use in Mexico (deemed voluntary declaration of no earlier use) could impact defense and enforcement proceedings. The Mexican Senate passed the amendment to the Industrial Property Law in April 2018 and it is likely to become effective sometime in the next several months.
May 22, 2018
Copyrights
Beyoncé, Coldplay and Ed Sheeran Skating Debuts – Solid Gold at the Olympics
With the lifting of the International Skating Union ban on the use of music with lyrics, the Olympics in Pyeongchang is the first in which singles and pairs ice skaters can compete to music with lyrics (Ice Dancers have been able to skate to vocals since the 1990s). While this adjustment may be the catalyst to inspired and energetic performances, it has also led to an interesting question regarding the types of licenses needed to use such music in live and re-broadcast skating performances. The answer to this question can be as complicated as a triple Axel and requires a bit of background regarding the copyrights present in music. There are two distinct copyrights in music: (1) the copyright in the sound recording, which results from the fixation of a series of musical, spoken or other sounds (e.g. on CD, digital file, etc.); and (2) the copyright in the composition, encompassing the words and music embodied in the sheet music, sound recording, etc. Each usually has a different owner and require distinct licenses for their use. Typically, the sound recording (or “master”) copyright is owned by the record label. The copyright in the composition is typically owned by the songwriter(s) or music publisher. Under the U.S. Copyright Act, the exclusive rights of the owner of copyright in a sound recording are limited to specific rights and do not include any right of performance (unlike the exclusive rights in compositions, which do include the right of performance). Rather, in the case of sound recordings, there exists the exclusive right to perform the copyrighted work publicly by means of a digital audio transmission. Thus, for a live skating event there is no license required to use the sound recording. However, if the performance is reproduced in the future, such as a best of the Olympics feature or compilation of highlighted performances, the situation changes. In this case, NBC would be required to obtain a master use license for the reproduction of the sound recording. On the other hand, the public performance of the composition requires a license. The type of license and where it is obtained depends on whether the performance is dramatic (also called “grand rights”) or nondramatic. The answer is further complicated by the fact that the Copyright Act does not define the terms “dramatic” or “nondramatic.” In the U.S., three organizations negotiate license arrangements for non-dramatic performances and distribute fees back to the writers and publishers whose music and lyrics are being performed – ASCAP, BMI and SESAC. License rights for dramatic performances, where a work is performed, for example, as part of a musical, opera, ballet, etc., are obtained directly from the copyright owner. In the case of ice skating, the performance is non-dramatic and likely considered underscore (by ASCAP standards) and background (by BMI standards). That is, the performance of the work used as a dramatic underscore to a scene where the music is not the focus of audience attention yet nonetheless is used to set the mood of the scene. NBC likely has a blanket license through one or more of the performance rights organizations, ASCAP, BMI or SESAC, which covers the use of the songs in the performances. In the end, NBC certainly trained for this event and had its gold medal team working to ensure the right licenses are in place for the broadcast of the Olympics. With the proper licenses in hand, the rest of us get to sit back and judge whether a song choice rocks a performance or flops.
February 22, 2018
Copyrights
Bringing Back the Oldies – Legislation for Equal Treatment in the Music Industry
On July 19, 2017, the CLASSICS Act (H.R. 3301 - Compensating Legacy Artists for their Songs, Service, and Important Contributions to Society Act) was introduced into the House, the purpose of which is to provide copyright protection for sound recordings fixed before February 15, 1972. The bill is widely supported by stakeholders in the music industry such as the Recording Industry Association of America, American Federation of Musicians, SAG-AFTRA, and the Recording Academy (the Grammys) as a way to ensure payment to artists and labels of royalties on digital transmissions of their sound recordings. Presently, the law provides for payment of royalties to songwriters and publishers only. The bill is intended as an addition to the Fair Play Fair Pay Act (H.R. 1836) bill re-introduced in March 2017 aimed at establishing performance rights at terrestrial radio. Under current U.S. law, radio stations are allowed to broadcast music without payment of royalties to artists and labels. Among those in the music industry, the United States is regarded as lagging far behind other countries in its failure to pay royalties to artists to broadcast their songs. Many broadcasters, including the National Association of Broadcasters, remain opposed to the bills, believing that artists and labels receive fair treatment based on the free promotion when the song is broadcast and resulting purchase of albums, merchandise and concert tickets. Smaller, independent stations likewise fear the fees could create serious financial concerns. Opponents also believe the bill may ultimately result in less airtime for newer or emerging artists, ensuring labels make more money, while new artists disappear. This is not the first time a bill has been introduced seeking to rectify inequality in the treatment of broadcast and digital performance of pre-1972 sound recordings. In 2015, the first Fair Play Fair Pay Act was introduced (H.R. 1733) but ultimately did not pass the House. In addition, in 2009, Rep. Mel Watt (D-N.C.) and others introduced the Performance Rights Act (H.R. 848), which would have mandated royalties for artists and labels for radio play. Though the 2009 bill cleared the House Judiciary Committee it never reached a floor vote amid pushback from the broadcast industry. It remains to be seen whether these bills will fare better. In the meantime, at least one company in the broadcast industry has begun entering into private deals for payment of royalties in exchange for favorable rates for online streaming. In 2013, Clear Channel Communications struck a deal with the Warner Music Group (the smallest of the major labels) that allows the label and its acts to collect royalties when their songs are played on Clear Channel’s 850 broadcast stations. In exchange, Clear Channel receives a favorable rate in the expensive world of online streaming. Clear Channel has also struck a similar deal with Taylor Swift’s label, Big Machine. It remains to be seen whether other broadcasters will similarly begin striking private deals while these bills make their way through the legislative process, with the hope that the bills do not encounter the same fate as their predecessors. Stay tuned for more updates.
August 16, 2017

