Deep learning technology and its impact on a cinematographic work

Artificial intelligence has also found its way into the film industry and will be an inevitable part of it in the future. Of course, there are major copyright concerns associated with this scenario, in addition to changes in the usual business plans. On the one hand, there are legal issues relating to authorship and ownership of intellectual property rights in a certain film work. On the other side, the deep culturally embedded moral rights that are granted in continental European in the romantic-rooted droit d’auteur doctrines. Since the beginning of cinematography, initiated in 1895 by the Lumière brothers with their motion pictures, film creation and film technology have undergone a parallel ongoing metamorphosis. The challenge of this work is, therefore, not only the legal but also the philosophical-historical analyses since a far-reaching solution to the apparent copyright problems is only possible in the interplay of these diverse approaches. To support the reader with more core knowledge on the topic, the legal analysis of the central points is based on a comprehensive introduction to the process of filmmaking in the age of algorithms. In order to adequately describe the reasons behind these copyright issues, this thesis focuses on the different doctrines, the cinematographic work, the possible authors and the moral rights. Each of the critical elements to be analysed must be examined under the premise of whether the historically and socio-ethnically entrenched laws can still exist under the technological developments of humane algorithms.Finally, an attempt is made to draw conclusions for potential solutions through various measures to tackle synthetic creativity.