Copyright

Information professionals will find the tools they need to take control of their rights and responsibilities as copyright owners and users in this succinct, easy-to-use guide.

Introduction to legal issues in digital libraries -- What are the special features of digital libraries and what are some of the legal impacts of those features? -- Who are content owners? -- What rights do content owners have and what are the limitations to those rights? -- How long do the rights last? -- How are rights acquired from owners? -- What should you know about digital media licenses? -- What is infringement and what are the results of infringement? -- What should you be aware of in digital rights management systems? -- What are service providers and what is the service provider safe harbor? -- What are copyright royalties? -- What is proprietary and private information? -- International aspects of copyright -- Appendix 1. Notices of termination of transfers and licenses (Code of federal regulations) -- Appendix 2. Exemption to prohibition against circumvention (Code of federal regulations) -- Appendix 3. Quick-reference compilation of notable points from each chapter -- Appendix 4. Quick-reference compilation of compliance checklists -- Appendix 5. Resources for finding copyright owners and clearances -- Appendix 6. Suggested analyses for hypothetical questions from each chapter

As more and more colleges and universities establish copyright offices and/or assign the responsibilities of copyright education and advisory services to specific individuals within the institution, many times librarians, there is a paucity of resources available on how to manage that responsibility. Most works on copyright discuss the law and court cases interpreting the law but few address the situational application of it and the management and coordination of copyright efforts on a campus. Here is a complete, one-stop, guide to managing copyright at all levels community college, college, and university. Written by the director of the University Copyright Office at Purdue University who holds both law and library science degrees, this is complete, authoritative guide is a must-purchase for every institution of higher education seeking to comply with the copyright law and thus avoid potential liability exposure.

The Register of Copyrights was directed to conduct a study on the desirability of and means for bringing sound recordings fixed before February 15, 1972, under federal jurisdiction. The study was to cover the effect of federal coverage on the preservation of such sound recordings, the effect on public access to those recordings, and the economic impact of federal coverage on rights holders. The study was also to examine the means for accomplishing such coverage, and should include any recommendations that the Register considered appropriate. This is what they found.

If you belong to a band and love the art of your job, but sing the blues when it comes to the business side, you need Music Law. Composed by musician and lawyer Richard Stim, the book explains how to: find the right manager buy, insure and maintain equipment get gigs and get paid tour on a budget use samples do covers legally protect your copyright trademark your band's name choose a recording studio sell your music manage your website understand record contracts deal with taxes Music Law provides all the legal information and practical advice musicians need. This edition is thoroughly updated with the latest changes in copyright and trademark law, including guidance on filling out "Form CO." Plus, find expanded information on musical collaborations between DJs and other musicians. You'll also get the most up-to-date legal forms available. Interactive forms are downloadable.

Introduction : the aesthetics of access -- Video clip 1: diasporic Asian video markets in Orange County -- Be kind, rewind : the histories and erotics of home video -- Video clip 2: chiller theatre toy, model, and film expo -- The fairest of them all? Home video, copyright, and fair use -- The revolution was recorded : Vanderbilt television news archive, copyright in conflict, and the making of TV history -- Video clip 3: experimental film on video : a frameworks debate -- Grainy days and Mondays : Superstar and bootleg aesthetics -- Video clip 4: tape art -- Joanie and Jackie and everyone they know : video chainletters as feminist community network -- Epilogue : YouTube : where cultural memory and copyright converge.

Introduction: Dance plus copyright -- White womanhood and early campaigns for choreographic copyright -- The black body as object and subject of property -- "Stealing steps" and signature moves: alternative systems of copyright -- "High-brow meets low-down": copyright on Broadway -- Copyright and the death/life of the choreographer -- Coda: Beyoncé v. De Keersmaeker -- Appendix: A timeline of intellectual property rights and dance in the United States.

Pricing and selling -- Your studio -- Going online -- Hiring workers and sales reps -- Business forms & legal liability -- Protecting appearances with copyright -- Protecting appearances with design patents and trade dress -- Names and trademarks -- Licensing -- Taxes -- Lawyers, contracts, and lawsuits.

The business of art -- Copyright : gaining and keeping protection -- Copyright : registration -- Copyright : works for hire and joint works -- Copyright : infringement, fair use, compulsory licensing, and permissions -- Copyright and the digital revolution -- Moral rights -- Other protections for artists -- Risks in the content and creation of art -- Contracts : an introduction -- Original art : sales, commissions, and rentals -- Original art : ownership, insurance, submissions, and resale proceeds -- Unique art and limited editions -- Sales by galleries and agents -- Sales of reproduction rights -- Publishing contracts -- Video artworks -- Multimedia contracts -- Studios and leases -- Taxes : income and expenses -- Taxes : beyond Schedule C -- Taxes : the hobby loss challenge -- Taxes : who is an employee? -- The artist's estate -- Artists and museums -- The artist as a collector -- Grants and public support for the arts -- How to avoid or resolve disputes with clients -- Appendix. Artists' groups and organizations for the arts.

The international battle against Internet pirates has been heating up. Increasingly law enforcement is paying attention to book piracy as ebook publishing gains an ever-larger market share. With this threat to their health and even survival, publishers and authors must act much like the music, film, and software giants that have waged war against pirates for the past two decades. Now, The Battle against Internet Piracy opens a discussion on what happens to the victims of piracy. Drawing from a large number of interviews--from writers, self-publishers, mainstream publishers, researchers, students, admitted pirates, free speech advocates, attorneys, and local and international law enforcement officials--the text speaks to such issues as: *Why pirates have acted and how they feel about it *The conflict over constitutional rights and piracy *The current laws surrounding Internet piracy *Examples of cases taken against some pirates *Alternatives to piracy *Personal experiences of being ripped off *The ways piracy affects different industries and how they've responded Author Gini Graham Scott prepares readers to arm themselves against these modern perils by learning about copyright, infringement, and how to prevent, combat, and end book piracy. Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.

Who are computer hackers? What is free software? And what does the emergence of a community dedicated to the production of free and open source software--and to hacking as a technical, aesthetic, and moral project--reveal about the values of contemporary liberalism? Exploring the rise and political significance of the free and open source software (F/OSS) movement in the United States and Europe, Coding Freedom details the ethics behind hackers' devotion to F/OSS, the social codes that guide its production, and the political struggles through which hackers question the scope and direction of copyright and patent law. In telling the story of the F/OSS movement, the book unfolds a broader narrative involving computing, the politics of access, and intellectual property. E. Gabriella Coleman tracks the ways in which hackers collaborate and examines passionate manifestos, hacker humor, free software project governance, and festive hacker conferences. Looking at the ways that hackers sustain their productive freedom, Coleman shows that these activists, driven by a commitment to their work, reformulate key ideals including free speech, transparency, and meritocracy, and refuse restrictive intellectual protections. Coleman demonstrates how hacking, so often marginalized or misunderstood, sheds light on the continuing relevance of liberalism in online collaboration.

Those who write about events that have taken place since 1970 encounter exciting challenges that are both familiar and foreign to scholars of a more distant past, including suspicions that their research is not historical enough, negotiation with living witnesses who have a very strong stake in their own representation, and the task of working with new electronic sources.

Beginning with Thomas Edison's aggressive copyright disputes and concluding with recent lawsuits against YouTube, Hollywood's Copyright Wars follows the struggle of the film, television, and digital media industries to influence and adapt to copyright law. Peter Decherney shows that the history of intellectual property in Hollywood has not always mirrored the evolution of the law. Many landmark decisions have barely changed the industry's behavior, while some quieter policies have had revolutionary effects. His most remarkable contributions uncover Hollywood's reliance on self-regulation. Whatever the issue, much of Hollywood's engagement with the law has occurred offstage, in the larger theater of copyright.