However, this is required in some other countries, including the United Kingdom and New Zealand. In Australia, there is no need to "assert" your moral rights in order to enforce them. See the Arts Law information sheet, Performers' rights.
The duration of performers’ moral rights is quite different. The moral right of integrity in an artistic, literary, dramatic or musical work also continues in force until copyright in the work expires however the moral right of integrity of a cinematograph film only continues for the lifetime of the of the director, producer or screenwriter and ceases upon death. The moral right of attribution and the moral right against a false attribution all continue in force until copyright in the artistic, literary, dramatic or musical work or film expires – usually 70 years following the creator’s death. The duration of moral rights depends on the nature of the moral right and the nature of the creative work. Moral rights cannot be bought or sold or given away however after the creator passes away, the moral rights can be exercised by the personal representative of the creator, for example, the executor or administrator of the creator’s estate. However a group of individuals may all be able to claim moral rights as co-creators. Only individuals can have moral rights so if the film producer is a corporation, it has no moral rights in the film. The principal director, principal producer and principal screenwriter of a film each have moral rights in that film. For information on what is an artistic, literary, dramatic or musical work, see Arts Law’s information sheet Copyright.
The creator of an artistic, literary, dramatic or musical work owns the moral rights in that work. (c) the doing of anything else in relation to the work that is prejudicial to the author’s honour or reputation." Who owns moral rights?
(b) an exhibition in public of the work that is prejudicial to the author’s honour or reputation because of the manner or place in which the exhibition occurs or "(a) the doing, in relation to the work, of anything that results in a material distortion of, the destruction or mutilation of, or a material alteration to, the work that is prejudicial to the author’s honour or reputation or "Derogatory treatment" in relation to an artistic work is defined in the Copyright Act as: Right of integrity: this is the right of an author to ensure that his/her work is not subjected to derogatory treatment which is any act in relation to the work that is in any manner harmful to the author's honour or reputation.Right against false attribution: this is the right of an author to stop someone else being credited as the author of their work and.Right of attribution: this is the right of an author to be identified and named as the author of his/her work.Moral rights arise automatically under the Copyright Act. A musician who has sold his copyright to a record label still has moral rights in his musical compositions. Thus an employed artist who does not own copyright in the visual artworks created as part of his employment nevertheless has moral rights in those artworks. Moral rights are distinct from the economic rights included in copyright. For more information on performers’ rights see the Arts Law information sheet, Performers' rights. This information sheet provides basic information on moral rights and their significance for creators and authors other than performers. Some performers also have limited moral rights in certain live or recorded performances. Moral rights exist in relation to artistic, literary, dramatic and musical works and films but not sound recordings. Moral rights are personal rights contained in the Copyright Act 1968 that connect creators to their work. Moral rights concern the creator’s right to be properly attributed or credited, and the protection of their work from derogatory treatment. Moral rights protect the personal relationship between a creator and their work even if the creator no longer owns the work, or the copyright in the work.