By Arnold Lutzker
Content material Rights for inventive pros is for execs and scholars operating in all components of media (film/video, images, multimedia, internet, pix, and broadcast) who want to know what the legislations calls for and the way they need to accurately make the most of copyrights and emblems. This ebook outlines severe options and applies them with factors in real-life functions, together with many instances from the author's personal perform in addition to these of assorted media professionals.
This 256 web page textual content is a realistic advisor designed to supply its reader with a company realizing of the foundations underlying the possession and use of content material, in order that whilst questions come up, they are going to be capable of make right, well-informed decisions-whether pertaining to their own works, or works of others corporation needs to copyright or trademark. additionally, the reader might be extra able to exercise sound judgment in structuring employment and agreement relationships and of buying and/or licensing works, that are on the middle of the enterprise of speaking.
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Extra info for Content Rights for Creative Professionals. Copyrights and Trademarks in a Digital Age
However, in 1992, Congress amended the fair use provision to explain that fair use could apply even to unpublished works. Nevertheless, it remains very difficult to prevail in a fair use claim if the original is unpublished, even where only tidbits of the original work are taken. Now, assuming that you have made it as far as third base, the hardest part is still to come. Home Pkute: The Economics of the Tuking Copyright interests are economic rights in works. Perhaps the most important question in assessing fair use is this: What is the impact of the use on the market for and value of the original?
Certainly, it is a far cry from an Andy Warhol painting hanging in the local museum. Rights in Sound Recordings Finally, there is the notion of a performance right in sound recordings. We have more to say about this issue in the discussion of musical content in broadcasting and webcasting, but, briefly, record label companies have long claimed they deserve royalties when their recordings are played publicly. Copyright protection for these companies is only relatively recent. Copyright law first recognized The Copyright Rights: The Coin of Copyright 27 certain rights of sound recording companies in 1972, when an amendment was passed in response to a wave of piracy of audiocassettes.
The change was inevitable. In 1992, Congress passed what could be called the precursor legislation. It amended the Copyright Act to establish a royalty system covering the sale of digital audio recording devices. As a result, DATs and other digital devices are subject to tax at the source, a flat royalty of $1 or 2% of the transfer price, for every machine initially distributed in the United States. The money collected is divided between two funds (two thirds to the Sound Recordings Fund and one third to the Musical Works Fund) then distributed from the funds to those whose works are included in digital recordings.
Content Rights for Creative Professionals. Copyrights and Trademarks in a Digital Age by Arnold Lutzker