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This book examines the contractual relationships of creative
artists within a number of areas of the entertainment industry.
Whilst it focuses specifically on football, cricket, boxing and
music, developments within other parts of the entertainment
business are observed. The book also charts the concessions
(artistic, professional and personal) that are often made by such
artists in an attempt to achieve success and the consequent legal
problems that may arise from their working relationships. Embracing
historical materials and current legal practices, Contract and
Control in the Entertainment Industry will be of interest to
academics and students in the fields of law, sociology and cultural
studies. It will also appeal to anyone who is interested in seeing
how many areas of the entertainment industry have placed very
restrictive contractual controls on the raw materials of the
industry - the creative artists.
This book examines the contractual relationships of creative
artists within a number of areas of the entertainment industry.
Whilst it focuses specifically on football, cricket, boxing and
music, developments within other parts of the entertainment
business are observed. The book also charts the concessions
(artistic, professional and personal) that are often made by such
artists in an attempt to achieve success and the consequent legal
problems that may arise from their working relationships. Embracing
historical materials and current legal practices, Contract and
Control in the Entertainment Industry will be of interest to
academics and students in the fields of law, sociology and cultural
studies. It will also appeal to anyone who is interested in seeing
how many areas of the entertainment industry have placed very
restrictive contractual controls on the raw materials of the
industry - the creative artists.
Described by Richard Sherwin of New York Law School as the law and
film movement's 'founding text', this text is a second, heavily
revised and improved edition of the original Film and the Law
(Cavendish Publishing, 2001). The book is distinctive in a number
of ways: it is unique as a sustained book-length exposition on law
and film by law scholars; it is distinctive within law and film
scholarship in its attempt to plot the parameters of a distinctive
genre of law films; its examination of law in film as place and
space offers a new way out of the law film genre problem, and also
offers an examination of representations of an aspect of legal
practice, and legal institutions, that have not been addressed by
other scholars. It is original in its contribution to work within
the wider parameters of law and popular culture and offers a
sustained challenge to traditional legal scholarship, amply
demonstrating the practical and the pedagogic, as well as the moral
and political significance of popular cultural representations of
law. The book is a valuable teaching and learning resource, and is
the first in the field to serve as a basic guidebook for students
of law and film.
Monsters, Law, Crime, an edited collection composed of essays
written by prominent U.S. and international experts in Law,
Criminology, Sociology, Anthropology, Communication and Film,
constitutes a rigorous attempt to explore fertile interdisciplinary
inquiries into "monsters" and "monster-talk," and law and crime.
"Monsters" may refer to allegorical or symbolic fantastic beings
(as in literature, film, legends, myths, etc.), or actual or real
life monsters, as well as the interplay/ambiguity between the two
general types of "monsters." This edited collection thus explores
and updates contemporary discussions of the emergent and evolving
fronts of monster theory in relation to cutting-edge research on
law and crime, and may be seen as extensions of a Gothic
Criminology, generally construed. Gothic Criminology refers to a
theoretical framework initially developed by Caroline Joan "Kay" S.
Picart, a Philosophy and Film professor turned Attorney and Law
professor, and Cecil Greek, a Sociologist (Picart and Greek 2008).
Succinctly paraphrased, noting the proliferation of Gothic modes of
narration and visualization in American popular culture, academia
and even public policy, Picart and Greek proposed a framework,
which they described as a "Gothic Criminology" to attempt to
analyze the fertile lacunae connecting the "real" and the "reel" in
the flow of Gothic metaphors and narratives that abound around
criminological phenomena that populate not only popular culture but
also academic and public policy discourses.
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