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Francis Marion Beynon’s autobiographical novel Aleta Dey is increasingly recognised as a small classic of early twentieth-century fiction. Beynon was a journalist and feminist much involved in public affairs in early twentieth-century Manitoba. In 1917, aged 33, she was forced to leave her job as a result of her open pacifism, and she soon moved to New York where she dropped out of the public eye. Aleta Dey, first published in 1919, tells in plain and affecting prose the story of a girl growing up in Manitoba, becoming politically conscious, and falling in love with McNair, a man of much more conventional views. The First World War brings a crisis for them both after McNair enlists as a soldier. Though Beynon was a Canadian, her spare, emotionally open prose may have less in common with that of other Canadian writers of the time than it does with the style of contemporaneous western American women writers such as Willa Cather and Laura Ingalls Wilder. Like Cather’s My Antonia, Beynon’s Aleta Dey resonates with prairie simplicity, passion, and strength.
Professor Litman's work stands out as well-researched, doctrinally solid, and always piercingly well-written.-JANE GINSBURG, Morton L. Janklow Professor of Literary and Artistic Property, Columbia UniversityLitman's work is distinctive in several respects: in her informed historical perspective on copyright law and its legislative policy; her remarkable ability to translate complicated copyright concepts and their implications into plain English; her willingness to study, understand, and take seriously what ordinary people think copyright law means; and her creativity in formulating alternatives to the copyright quagmire. -PAMELA SAMUELSON, Professor of Law and Information Management; Director of the Berkeley Center for Law & Technology, University of California, BerkeleyIn 1998, copyright lobbyists succeeded in persuading Congress to enact laws greatly expanding copyright owners' control over individuals' private uses of their works. The efforts to enforce these new rights have resulted in highly publicized legal battles between established media and new upstarts.In this enlightening and well-argued book, law professor Jessica Litman questions whether copyright laws crafted by lawyers and their lobbyists really make sense for the vast majority of us. Should every interaction between ordinary consumers and copyright-protected works be restricted by law? Is it practical to enforce such laws, or expect consumers to obey them? What are the effects of such laws on the exchange of information in a free society?Litman's critique exposes the 1998 copyright law as an incoherent patchwork. She argues for reforms that reflect common sense and the way people actually behave in their daily digital interactions.This paperback edition includes an afterword that comments on recent developments, such as the end of the Napster story, the rise of peer-to-peer file sharing, the escalation of a full-fledged copyright war, the filing of lawsuits against thousands of individuals, and the June 2005 Supreme Court decision in the Grokster case.Jessica Litman (Ann Arbor, MI) is professor of law at Wayne State University and a widely recognized expert on copyright law.
Explains how to find and use creative works without permission or fees, describing how to recognize whether or not a work is in the public domain.
Can a free press survive in an era of free content? An “entertaining and well-written” examination of copyright law, its history, and its purpose (New York Law Journal). You can’t copyright facts, but is news a category unto itself? Without legal protection for the “ownership” of news, what incentive does a news organization have to invest in producing quality journalism that serves the public good? Can a free press survive in the era of free content? This book explores the intertwined histories of journalism and copyright law in the United States and Great Britain, revealing how shifts in technology, government policy, and publishing strategy have shaped the media landscape. Publishers have long sought to treat news as exclusive to protect their investments against copying or “free riding.” But over the centuries, arguments about the vital role of newspapers and the need for information to circulate have made it difficult to defend property rights in news. Beginning with the earliest printed news publications and ending with the Internet, Will Slauter traces these countervailing trends, offering a fresh perspective on debates about copyright and efforts to control the flow of news. “A well-written, thoughtful book, demonstrating how copyright law has struggled to keep up with the development of news culture, setting out the historical context in great detail and supported by much research, and with interesting conclusions and predictions for the future. It is unreservedly recommended.” ––European Intellectual Property Review
"A thoughtful, comprehensive, and invaluable guide for writers."--Bernard Lefkowitz, Professor, Columbia University Graduate School of Journalism "Easy to read and understand . . . should be on every publisher's reference shelf."--Jan Nathan, Executive Director, Publishers Marketing Association For anyone who has ever faced the confusing web of copyright and libel laws, this practical, problem-solving guide is a godsend. In clear, jargon-free language, legal experts provide the information and techniques you need to prepare a manuscript or multimedia work for publication. You'll learn how to: * Clear rights for all types of copyrighted materials, including quotations, photographs, fine art, motion picture stills, song lyrics, and more * Protect yourself against libel suits * Determine if a work is in the public domain * Assess if quoting without permission qualifies as fair use * Locate rights holders * Negotiate clearances Includes library of sample forms: * permission letter * interview release * model release * work-made-for-hire agreement * copyright assignment * photograph license
Do copyright laws directly cause people to create works they otherwise wouldn't create? Do those laws directly put substantial amounts of money into authors' pockets? Does culture depend on copyright? Are copyright laws a key driver of competitiveness and of the knowledge economy? These are the key questions William Patry addresses in How to Fix Copyright. We all share the goals of increasing creative works, ensuring authors can make a decent living, furthering culture and competitiveness and ensuring that knowledge is widely shared, but what role does copyright law actually play in making these things come true in the real world? Simply believing in lofty goals isn't enough. If we want our goals to come true, we must go beyond believing in them; we must ensure they come true, through empirical testing and adjustment. Patry argues that laws must be consistent with prevailing markets and technologies because technologies play a large (although not exclusive) role in creating consumer demand; markets then satisfy that demand. Patry discusses how copyright laws arose out of eighteenth-century markets and technology, the most important characteristic of which was artificial scarcity. Artificial scarcity was created by the existence of a small number gatekeepers, by relatively high barriers to entry, and by analog limitations on copying. Markets and technologies change, in a symbiotic way, Patry asserts. New technologies create new demand, requiring new business models. The new markets created by the Internet and digital tools are the greatest ever: Barriers to entry are low, costs of production and distribution are low, the reach is global, and large sums of money can be made off of a multitude of small transactions. Along with these new technologies and markets comes the democratization of creation; digital abundance is replacing analog artificial scarcity. The task of policymakers is to remake our copyright laws to fit our times: our copyright laws, based on the eighteenth century concept of physical copies, gatekeepers, and artificial scarcity, must be replaced with laws based on access not ownership of physical goods, creation by the masses and not by the few, and global rather than regional markets. Patry's view is that of a traditionalist who believes in the goals of copyright but insists that laws must match the times rather than fight against the present and the future.
Basic copyright laws and enforcements have been in effect for hundreds of years. However, laws with such extensive histories can often make understanding them complicated. As publishing moves into a digital arena, copyright laws have become increasingly complex. Authors, Copyright, and Publishing in the Digital Era not only addresses the current complexities that aries with authors and copyright laws when publishing digitally, but it also sheds light on the current processes and procedures in place concerning copyright options for digital publishers. This publication addresses a global audience in the manner in which it discusses traditional methods used in publishing before segueing into new model and strategies for both a business and an author in this ever-expanding digital world.
Written on the occasion of copyright's 300th anniversary, John Tehranian's Infringement Nation presents an engaging and accessible analysis of the history and evolution of copyright law and its profound impact on the lives of ordinary individuals in the twenty-first century. Organized around the trope of the individual in five different copyright-related contexts - as an infringer, transformer, pure user, creator and reformer - the book charts the changing contours of our copyright regime and assesses its vitality in the digital age. In the process, Tehranian questions some of our most basic assumptions about copyright law by highlighting the unseemly amount of infringement liability an average person rings up in a single day, the counterintuitive role of the fair use doctrine in radically expanding the copyright monopoly, the important expressive interests at play in even the unauthorized use of copyright works, the surprisingly low level of protection that American copyright law grants many creators, and the broader political import of copyright law on the exertion of social regulation and control. Drawing upon both theory and the author's own experiences representing clients in various high-profile copyright infringement suits, Tehranian supports his arguments with a rich array of diverse examples crossing various subject matters - from the unusual origins of Nirvana's "Smells Like Teen Spirit," the question of numeracy among Amazonian hunter-gatherers, the history of stand-offs at papal nunciatures, and the tradition of judicial plagiarism to contemplations on Slash's criminal record, Barbie's retroussé nose, the poisonous tomato, flag burning, music as a form of torture, the smell of rotting film, William Shakespeare as a man of the people, Charles Dickens as a lobbyist, Ashley Wilkes's sexual orientation, Captain Kirk's reincarnation, and Holden Caulfield's maturation. In the end, Infringement Nation makes a sophisticated yet lucid case for reform of existing doctrine and the development of a copyright 2.0.
In 14th century France, Aida is accused of being a witch when the Black Death wipes through her village. Abandoned by her family, she is surrounded by death and disease, but when a woman who may actually be a witch tells her how to cure the plague, it may mean uncovering a dark magic.
Written by two nationally recognized lawyers who have litigated major copyright cases in today's digital age, Copyright Law, Second Edition helps you to: - understand the scope of copyright owners' exclusive rights - prove copyright infringement and obtain appropriate remedies - renew, restore, and recapture copyrights - know when Internet-related activities constitute copyright infringement