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As the publishing, film and music industries are dominated by Big
Media conglomerates, there is often recourse to simplistic
ideological and conspiratorial readings of industry dynamics.
Copyright, Creativity, Big Media and Cultural Value: Incorporating
the Author explains why copyright is much more than a creator's
private property right or a mechanism through which corporations
control cultural production and influence mass consumption choices.
The volume is grounded in extensive, painstakingly detailed and
colourful original archival research into business histories of
major successful artists including Conan Doyle, Hall Caine,
Margaret Atwood, Dame Nellie Melba, Radiohead and Banksy, and the
industries and genres that grew up around their activities.
Chapters address big questions about how copyright generates income
and how distributions of profits are allocated in the publishing,
film and music industries. It includes discussion of the creation
of new formats, the interplay between old media and new
technologies, international copyright reform and cross-industry
relations. Copyright, Creativity, Big Media and Cultural Value is a
wide-ranging and important resource for students and practitioners
of law and policy, media studies, cultural studies and literary
history.
As the publishing, film and music industries are dominated by Big
Media conglomerates, there is often recourse to simplistic
ideological and conspiratorial readings of industry dynamics.
Copyright, Creativity, Big Media and Cultural Value: Incorporating
the Author explains why copyright is much more than a creator's
private property right or a mechanism through which corporations
control cultural production and influence mass consumption choices.
The volume is grounded in extensive, painstakingly detailed and
colourful original archival research into business histories of
major successful artists including Conan Doyle, Hall Caine,
Margaret Atwood, Dame Nellie Melba, Radiohead and Banksy, and the
industries and genres that grew up around their activities.
Chapters address big questions about how copyright generates income
and how distributions of profits are allocated in the publishing,
film and music industries. It includes discussion of the creation
of new formats, the interplay between old media and new
technologies, international copyright reform and cross-industry
relations. Copyright, Creativity, Big Media and Cultural Value is a
wide-ranging and important resource for students and practitioners
of law and policy, media studies, cultural studies and literary
history.
This book, the third in the series, follows the themes considered
in the first two volumes and brings together perspectives on
copyright from law, politics, economics, cultural studies and
social theory in an effort to forge a truly coherent and meaningful
agenda for the future of copyright. New Directions in Copyright
Law, Volume 3 comprises thoughtful, critical and often challenging
contributions from an international, multidisciplinary network of
scholars who continue the exploration of the role, function and
theoretical basis of copyright law. Themes such as the developments
in related rights and rights neighbouring on copyright are
discussed as well as the protection of traditional knowledge and
culture. Playing a leading role in stimulating international
research and debate about the future of the copyright system, this
book will be of great interest to copyright scholars and copyright
stakeholders.
Adventures in Childhood connects modern intellectual property law
and practice with a history of consumption. Structured in a loosely
chronological order, the book begins with the creation of a
children's literature market, a Christmas market, and moves through
character merchandising, syndicated newspaper strips, film,
television, and cross-industry relations, finishing in the 1970s,
by which time professional identities and legal practices had
stabilized. By focusing on the rise of child-targeted commercial
activities, the book is able to reflect on how and why intellectual
property rights became a defining feature of 20th century culture.
Chapters trace the commercial empires that grew around Alice in
Wonderland, Peter Rabbit, Meccano, Felix the Cat, Mickey Mouse,
Peter Pan, Eagle Magazine, Davy Crockett, Mr Men, Dr Who, The Magic
Roundabout and The Wombles to show how modern intellectual property
merchandising was plagued with legal and moral questions that
exposed the tension between exploitation and innocence.
This 2005 book raises the profile of socio-political questions
about the global technology and information market. It is a close
study of communication flows, networks, nodes, biopolitics and the
fragmentations of power. It brings to life the role played by
personalities, corporate interactions, industry compromises and the
regulatory incompetencies, affecting the technological world we all
live in. US technology powers the internet and disseminates
American culture on an unprecedented scale. Assessing this power
requires an analysis of the diffuse ways that US practice, policy
and law dominates, and a consideration of how influence is
negotiated and resisted locally. This involves a discussion about
how ideas about trade and innovation circulate; of the social power
of engineers that establish conventions and protocols; of the reach
of Leviathan corporations; and questions about global marketing and
consumer tastes. For readers interested in intellectual property
law, information technology, cultural studies, globalisation and
mass communications.
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