Professor Buccafusco's research covers a wide range of topics and methods related to creativity, innovation, and intellectual property law. He uses novel social science experiments to explore the nature of innovation markets, and he writes about evolving issues in copyright, patent, and trademark law, including music copyright litigation, pharmaceutical patents, and protection for industrial design. Professor Buccafusco co-hosts an annual workshop on empirical methods in intellectual property law with the U.S. Patent & Trademark Office and Northwestern University Law School.
Professor Buccafusco is also a co-author of Happiness and the Law and a series of articles that apply recent social science research on well-being to legal issues, including criminal, administrative, tort, and intellectual property laws.
Professor Buccafusco has been widely quoted in media, including in the New York Times, Wall Street Journal, and Rolling Stone. His article on the economics of airplane seat reclining for Slate.com has been covered by dozens of media outlets around the world.
Prior to coming to Cardozo, Professor Buccafusco taught at Chicago-Kent College of Law. He won the SBA teaching award in his first year on the faculty, and he later won the university-wide teaching award. At Chicago-Kent, Professor Buccafusco co-founded the Center for Empirical Study of Intellectual Property.
(Univ. of Chicago Press, 2015) (with John Bronsteen & Jonathan Masur)
12 UC Irvine Law Review (forthcoming 2021) (with Kristelia García).
98 Washington University Law Review (forthcoming 2021) (with Jonathan Masur)
95 NYU Law Review 952 (2020)
37 Cardozo Arts & Entertainment Law Journal 263 (2019) (with Jeanne Curtis)
68 Duke Law Journal 75 (2018) (with Mark A. Lemley & Jonathan S. Masur)
103 Virginia Law Review 1293 (2017) (with Mark Lemley)
59 William & Mary Law Review 1 (2017) (with Stefan Bechtold & Christopher Sprigman)
102 Virginia Law Review 1229 (2016)
The world of musical composition is not that broad, and it’s certainly not that broad when it comes to things like bass lines. Most musicians are working in a finite innovation space. There are not a lot of sounds generally pleasing to people’s ears and not that many ways to say, ‘Love is a wonderful thing.’ Should they be financially on the hook for that?