{"title":"Copyright law Books","description":"","products":[{"product_id":"music-the-business-8th-edition-9780753558980","title":"Music The Business 8th edition","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eAnn Harrison runs her own successful legal consultancy. Former head of the music group at a leading media and entertainment law firm, she specialises in copyright and contract law for artists, producers, managers and publishers. annharrison.co.uk\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eThe most comprehensive and accessible guide to the workings of the British music industry. * Daily Mirror *\u003cbr\u003eAn invaluable guide to the legal minefield. * Guitar Magazine *\u003cbr\u003eAn indispensable companion for any up-and-coming musician. * Future Music *\u003cbr\u003eHarrison has cut a magnificent swathe through the legal jungle. Essential. * Record Collector *\u003cbr\u003eAn indispensable companion for any up-and-coming musician * Future Music *","brand":"Ebury Publishing","offers":[{"title":"Default Title","offer_id":48737038008663,"sku":"9780753558980","price":28.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780753558980.jpg?v=1723810924"},{"product_id":"owning-the-masters-9781501345906","title":"Owning the Masters","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eOwning the Masters \u003c\/i\u003eprovides the first in-depth history of sound recording copyright. It is this form of intellectual property that underpins the workings of the recording industry. Rather than being focused on the manufacture of goods, this industry is centred on the creation, exploitation and protection of rights. The development and control of these rights has not been straightforward. This book explores the lobbying activities of record companies: the principal creators, owners and defenders of sound recording copyright. It addresses the counter-activity of recording artists, in particular those who have fought against the legislative and contractual practices of record companies to claim these master rights for themselves. In addition, this book looks at the activities of the listening public, large numbers of whom have been labelled pirates' for trespassing on these rights. The public has played its own part in shaping copyright legislation. This is an essential subject for\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eCopyright is a tool used by record labels to extract value from recording artists, but it is also the mechanism that allows artists to profit from their music. In \u003ci\u003eOwning the Masters\u003c\/i\u003e, Richard Osborne deftly threads a historical narrative between these two positions. This book is indispensable reading for anyone trying to understand the role of copyright in the world today. * David Arditi, Associate Professor of Sociology and Anthropology, The University of Texas at Arlington, USA, and author of Getting Signed: Record Contracts, Musicians and Power in Society *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eAcknowledgements\u003c\/i\u003e Introduction 1. Mechanizing 2. Performing 3. Producing 4. Expanding 5. Justifying 6. Networking 7. Owning \u003ci\u003eGlossary\u003c\/i\u003e \u003ci\u003eTimeline\u003c\/i\u003e \u003ci\u003eBibliography\u003c\/i\u003e \u003ci\u003eIndex\u003c\/i\u003e","brand":"Bloomsbury Publishing Plc","offers":[{"title":"Default Title","offer_id":48739785081175,"sku":"9781501345906","price":21.84,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781501345906.jpg?v=1720053136"},{"product_id":"copyrights-highway-from-the-printing-press-to-the-cloud-second-edition-9781503605374","title":"Copyright's Highway: From the Printing Press to","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eIn \u003ci\u003eCopyright's Highway\u003c\/i\u003e, one of the nation's leading authorities on intellectual property law offers an engaging, readable, and intelligent analysis of the effect of copyright on American politics, economy, and culture. From eighteenth-century copyright law, to the \"celestial jukebox,\" to the future of copyright issues in the digital age, Paul Goldstein presents a thorough examination of the challenges facing copyright owners and users. \u003c\/p\u003e \u003cp\u003eIn this fully updated second edition, the author expands the discussion to cover the latest developments and shifts in copyright law for a new audience of scholars and students. This expanded edition introduces readers to present and future debates regarding copyright law and policy, including a new chapter on the technological shift in emphasis from producer to consumer and the legal shift from exclusive rights to exceptions and limitations to those rights. From Gutenberg to Google Books, \u003ci\u003eCopyright's Highway, Second Edition\u003c\/i\u003e, offers a concise, essential resource for the internet generation.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\"Paul Goldstein can make the complex issues of copyright law accessible and captivating without sacrificing the nuances of law, politics, and custom that underlie them. With this second edition of \u003ci\u003eCopyright's Highway\u003c\/i\u003e, Goldstein adds timely narratives, such as the Google Book Project, to illustrate the evolving nature of copyright law and its importance to our everyday lives.\" -- Marshall Leaffer * Indiana University Maurer School of Law *\u003cbr\u003e\"A much-awaited new edition of Paul Goldstein's landmark synthesis of the history and policies of US copyright law. Goldstein's comprehensive and deep understanding of the legal, economic, and technological interests at stake thoroughly illuminates this sensitive and accessible study. A new concluding chapter meticulously and critically examines the challenges of 'competing with free' and the landscape-altering consequences of copyright's encounter with internet platforms.\" -- Jane C. Ginsburg * Columbia University *\u003cbr\u003e\"\u003ci\u003eCopyright's Highway\u003c\/i\u003e now an updated and expanded second edition, is one of the most brilliant, lucid, and readable explanations of what is increasingly America's national treasure: our intellectual property. Highly recommended.\" -- Scott Turow * The Authors Guild *\u003cbr\u003e\"Paul Goldstein's eloquent call for a more human-centered discipline of copyright blends perception and prescription to great effect, indicating to the reader how far copyright has yet to go to help creativity flourish—and how it might cover the distance.\" -- Jonathan Zittrain * Harvard University *\u003cbr\u003e\"If you care about the future of innovation, creativity, technology, free speech and privacy and are going to read one book on copyright, give the second version of \u003ci\u003eCopyright's Highway\u003c\/i\u003e a shot. It captures the human drama of battles past, gives a sense of our present, and provides a glimpse into the future.\"––Raymond J. Dowd, \u003ci\u003eNew York Law Journal\u003c\/i\u003e","brand":"Stanford University Press","offers":[{"title":"Default Title","offer_id":48739791831383,"sku":"9781503605374","price":75.2,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781503605374.jpg?v=1720053158"},{"product_id":"originality-in-eu-copyright-full-harmonization-through-case-law-9781782548935","title":"Originality in EU Copyright: Full Harmonization","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e'This book guides us expertly through the controversial area of originality, a concept which lies at the very foundation of copyright law, but which has never before been analysed in any depth as a topic in its own right. Originality has however now become a hot topic, given the controversial recent case law of the EU Court of Justice on it, and the manner in which some national courts in the EU are seeking to apply it, which makes this book especially timely.'\u003c\/i\u003e\u003cbr\u003e- Trevor Cook, Bird \u0026amp; Bird LLP, UK\u003cp\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e'This text has been well drafted and documented, the legal analysis is sound and competent and the author manages to provide useful insights into UK and US law. She also manages to put her subject in perspective, taking into account the inevitable policy issues, which, however, could be extended to what the actual role of the court is in the much-debated EU copyright harmonisation. I strongly recommend reading this book.'\u003c\/i\u003e\u003cbr\u003e- Irini Stamatoudi, \u003ci\u003eEuropean Intellectual Property Review\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eFull harmonization of the copyright laws of EU Member States has long been a holy grail for copyright lawyers, but with the reality thus far being only limited harmonization resulting from ad-hoc legislative interventions, there are serious questions over the feasibility and indeed desirability of this goal. Notwithstanding, as this book makes eloquently clear, whilst legislative initiatives have been limited, the CJEU has been acting proactively, establishing through its decisional practice the de facto harmonization of an important principle of copyright: the originality requirement.\u003c\/p\u003e\u003cp\u003eThrough an assessment of the originality requirement, this work guides the reader in interpreting judicial decisions which are of fundamental importance to current and future understanding of EU copyright. The book's holistic approach and methodology takes in analysis of; recent decisions of the CJEU in light of broader EU copyright reform debate; the implications of CJEU case law in Member States which have traditionally adopted different approaches to copyright (eg the UK); the originality requirement in EU, UK and continental Member States; recent UK decisions from an EU perspective; and academic copyright reform projects, both in Europe and the US.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eOriginality in EU Copyright\u003c\/i\u003e will appeal to academics, policymakers and EU officers, students, practitioners and in-house counsels.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eContents:\u003c\/b\u003e Foreword \u003cbr\u003eTable of Cases (in Chronological Order) \u003cbr\u003eTable of EU\/EC\/EEC Legislation (in Chronological Order) \u003cbr\u003eTable of EU\/EC Policy Documents (in Chronological Order) \u003cbr\u003eIntroduction \u003cbr\u003e1. The Challenges of EU Copyright: 'United in Diversity' - Does it Work? \u003cbr\u003e2. Originality as a Policy Tool: Shaping the Breadth of Protection \u003cbr\u003e3. Originality in a Work, or a Work of Originality: The Effects of the Infopaq Decision \u003cbr\u003e4. The CJEU Goes Ahead: The Decisions in Murphy, Painer, Football Dataco and SAS \u003cbr\u003e5. Challenging the UK Understanding of Copyright: Originality and Subject-matter Categorization at the Forefront of the Debate \u003cbr\u003e6. The Future of Copyright at the EU Level: The Shape of Harmonization \u003cbr\u003eBibliography \u003cbr\u003eIndex\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e'Rosati's text is both a readable and useful review of where we are in copyright at present, combined with a strong argument that we are on the 'right road' . . Overall, Rosati's text provides a very accessible view of the topic. I have some scepticism that harmonization of originality is really the most central problem for the copyright system, but she puts her case across well.'\u003c\/i\u003e\u003cbr\u003e --Philip Leith, \u003ci\u003eWeb Journal of Current Legal Issues\u003c\/i\u003e\u003cp\u003e\u003ci\u003e'[T]his book will have immediate appeal for copyright lawyers, especially those working cross-border in the EU. Academics, students and don't forget EU officials and policy makers areas will also find it intriguing, even visionary, for it is as much about future possibilities as it is about present realities.'\u003c\/i\u003e\u003cbr\u003e --Phillip Taylor MBE and Elizabeth Taylor, \u003ci\u003eThe Barrister Magazine\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e'Rosati has made a valuable contribution to the study of European copyright law.'\u003c\/i\u003e\u003cbr\u003e --Sir Richard Arnold, \u003ci\u003eJournal of Intellectual Property Law and Practice\u003c\/i\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eContents: Foreword  Table of Cases (in Chronological Order)  Table of EU\/EC\/EEC Legislation (in Chronological Order)  Table of EU\/EC Policy Documents (in Chronological Order)  Introduction  1. The Challenges of EU Copyright: ‘United in Diversity’ – Does it Work?  2. Originality as a Policy Tool: Shaping the Breadth of Protection  3. Originality in a Work, or a Work of Originality: The Effects of the Infopaq Decision  4. The CJEU Goes Ahead: The Decisions in Murphy, Painer, Football Dataco and SAS  5. Challenging the UK Understanding of Copyright: Originality and Subject-matter Categorization at the Forefront of the Debate  6. The Future of Copyright at the EU Level: The Shape of Harmonization   Bibliography  Index","brand":"Edward Elgar Publishing Ltd","offers":[{"title":"Default Title","offer_id":48868259496279,"sku":"9781782548935","price":109.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781782548935.jpg?v=1722287168"},{"product_id":"copyright-in-the-music-industry-a-practical-guide-to-exploiting-and-enforcing-rights-9781839101267","title":"Copyright in the Music Industry: A Practical","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThis must-have book is a comprehensive yet accessible guide to copyright and related rights in the music industry. It provides clear and concise instruction on how copyright works in practice and how it applies to music specifically, as well as covering how to manage, utilise and enforce copyright, what infringement looks like and how to avoid it. The book illustrates this with relevant cases and real world examples, including practical, step-by-step guidance for stakeholders of all types. It also signposts the future of copyright in the music industry through an examination of new technologies such as artificial intelligence and blockchain.\u003cp\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cbr\u003eKey features include:\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eAn engaging and approachable writing style\u003c\/li\u003e\n\u003cli\u003e\u003cbr\u003e\u003c\/li\u003e\n\u003cli\u003eA practical orientation for those in the industry and their advisors\u003c\/li\u003e\n\u003cli\u003e\u003cbr\u003e\u003c\/li\u003e\n\u003cli\u003eThe impact of social media on copyright infringement, management and remedies\u003c\/li\u003e\n\u003cli\u003e\u003cbr\u003e\u003c\/li\u003e\n\u003cli\u003eAccessible explanations of key concepts in copyright and related rights, as well as commonly misunderstood topics such as sampling and fair use.\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003cbr\u003eMusicians, producers, copyright holders and others working in the music industry will find this an indispensable and easy-to-use resource for navigating all aspects of music copyright. It will also be of interest to academics and students of copyright law for its discussion of contemporary issues such as technology and enforcement.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e‘Bosher adopts an easy-to-follow approach for the reader, when she identifies eight myths about copyright. Busting the myths approach is just one of the many strengths of \u003c\/i\u003eCopyright in the Music Industry\u003ci\u003e. The tone of the book remains easily accessible and understandable throughout, and legal concepts are clearly explained.’\u003c\/i\u003e -- Metka Potočnik, Wolverhampton Law Journal\u003cbr\u003e\u003ci\u003e‘An accessible primer on ever-evolving issues of copyright in the music industry from a rising scholar.’\u003c\/i\u003e -- Jonathan Zittrain, Harvard Law School, US\u003cbr\u003e\u003ci\u003e‘Hayleigh Bosher’s new book is a wonderful addition to the library of any professional working in or having to deal with the copyright field and the legal issues it presents. The clear and user-friendly tone makes the book accessible to professionals from all backgrounds without distracting from the technical and intellectual rigour and depth of research. In sum, \u003c\/i\u003eCopyright in the Music Industry \u003ci\u003eis a must-read for all those working at the crossroads of these two worlds.’\u003c\/i\u003e -- Eleonora Rosati, Stockholm University, Sweden and Bird \u0026amp; Bird, Milan, Italy\u003cbr\u003e\u003ci\u003e'Dr Hayleigh Bosher has done the impossible: write a book on copyright in the music industry that is both practical and readable. As a life-long musician and copyright lawyer for 38 years, this accomplishment cannot be overstated. I expect that the principal audience -- as it should be -- will be musicians themselves. For them, the book will provide all the background and details necessary to use the law in a way that we all want -- to protect and further creativity. Brava.'\u003c\/i\u003e -- - Bill Patry, Senior Copyright Counsel, Google Inc., US\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eContent: Foreword I David Martin  Foreword II Andrea Martin  Foreword III Scott Farrant  Preface  Key terms  Copyright in the Music Industry playlist  PART I MUSIC AND COPYRIGHT  1. Why copyright matters in music  2. What is copyright?  3. Copyright in a song  4. What copyright gives you  5. What copyright does not give you  PART II MANAGING MUSIC COPYRIGHT  6. Who owns the copyright?  7. Roles and relationships  8. Contracts  9. Licensing  10. Social media  PART III INFRINGEMENT  11. What is copyright infringement?  12. Who copied my song?  13. Inspiration or infringement  14. Sampling  15. Counterfeit goods  PART IV ENFORCEMENT  16. Starting a copyright infringement claim  17. Where to make a claim  18. Evidence and musicology reports  19. Remedies  20. Online enforcement  PART V LOOKING TO THE FUTURE  21. Artificial intelligence and music  22. Blockchain in the music industry   Index","brand":"Edward Elgar Publishing Ltd","offers":[{"title":"Default Title","offer_id":48868635541847,"sku":"9781839101267","price":999.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781839101267.jpg?v=1722288981"},{"product_id":"how-music-changed-youtube-9798765100707","title":"How Music Changed YouTube","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eGuillaume Heuguet\u003c\/b\u003e is a Professor of Contemporary Art and Art History at ESACM (Clermont-Ferrand), France, and the Editor-in-Chief of\u003ci\u003e Audimat\u003c\/i\u003e, a French journal of music criticism. He holds a PhD in media studies from the School of Higher Studies in Communication (CELSA), Sorbonne University, France, and has edited for Paris' Philharmonic \u003ci\u003ePenser les musiques populaires, \u003c\/i\u003ethe first French reader on popular music studies.","brand":"Bloomsbury Publishing USA","offers":[{"title":"Default Title","offer_id":48869624676695,"sku":"9798765100707","price":21.36,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9798765100707.jpg?v=1722293714"},{"product_id":"copyright-law-a-brief-look-at-the-google-library-project-9781607418719","title":"Copyright Law \u0026 a Brief Look at the Google","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThe Google Book Search Library Project, announced in December 2004, raised important questions about infringing reproduction and fair use under copyright law. Google planned to digitise, index, and display \"snippets\" of print books in the collections of five major libraries without the permission of the books'' copyright holders, if any. This book examines the important issues that were raised by the outcome of the Google Library Project, and analyse possible future cases which may raise similar questions about infringing reproduction and fair use. The authors also discuss hyperlinking, in-line linking, caching, framing and thumbnails and how they relate to a copyright holder''s traditional rights to control reproduction, display, and distribution of protected works. This book consists of public documents which have been located, gathered, combined, reformatted, and enhanced with a subject index, selectively edited and bound to provide easy access.","brand":"Nova Science Publishers Inc","offers":[{"title":"Default Title","offer_id":48886748512599,"sku":"9781607418719","price":129.74,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781607418719.jpg?v=1722541378"},{"product_id":"legislative-approaches-to-online-piracy-copyright-infringement-9781619429741","title":"Legislative Approaches to Online Piracy \u0026","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eTechnological developments related to the Internet benefit consumers who want convenient ways to view and hear information and entertainment content on a variety of electronic devices. The global nature of the Internet offers expanded commercial opportunities for intellectual property (IP) rights holders but also increases the potential for copyright and trademark infringement. Piracy of the content created by movie, music, and software companies and sales of counterfeit pharmaceutical drugs and consumer products negatively impact the American economy and can pose risks to the health and safety of U.S. citizens. This book discusses legislative approaches to online piracy and copyright infringement.","brand":"Nova Science Publishers Inc","offers":[{"title":"Default Title","offer_id":48886939484503,"sku":"9781619429741","price":106.49,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781619429741.jpg?v=1722542266"},{"product_id":"copyright-restoration-the-supreme-courts-golan-v-holder-decision-9781620811740","title":"Copyright Restoration \u0026 the Supreme Court's Golan","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e","brand":"Nova Science Publishers Inc","offers":[{"title":"Default Title","offer_id":48886945874263,"sku":"9781620811740","price":63.19,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781620811740.jpg?v=1722542298"},{"product_id":"music-airplay-the-proposed-performance-rights-act-9781621004516","title":"Music Airplay \u0026 the Proposed Performance Rights","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e","brand":"Nova Science Publishers Inc","offers":[{"title":"Default Title","offer_id":48886974251351,"sku":"9781621004516","price":106.49,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781621004516.jpg?v=1722542427"},{"product_id":"pre-1972-sound-recordings-copyright-protection-preservation-policy-considerations-9781628083200","title":"Pre-1972 Sound Recordings: Copyright Protection,","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThe body of pre-1972 sound recordings is vast. Commercially released \"popular\" recordings come most readily to mind -- from Frank Sinatra and Ella Fitzgerald to the Beatles and the Rolling Stones. But pre-1972 commercial recordings encompass a wide range of genres: ragtime and jazz, rhythm and blues, gospel, country and folk music, classical recordings, spoken word recordings and many others. Some remain popular; others have long since faded from memory and are of interest only to scholars. There are, in addition, many unpublished recordings such as journalists'' tape, oral histories, and ethnographic and folklore recordings. There are also recordings of old radio broadcasts, which were publicly disseminated by virtue of the broadcast, but in many cases are technically unpublished under the standards of the U.S. Copyright Act. These recordings are a rich aspect of this country''s cultural heritage, and it is important to ensure that they will be preserved and accessible for researchers and scholars, as well as to future generations. This book provides an overview of the Copyright Office''s research and public outreach concerning the legal treatment of pre-1972 sound recordings. It explains the process by which the Office undertook its research; describes the comments received as well as the views expressed at the public meetings; and explains the Office''s recommendations and the reasons for them.","brand":"Nova Science Publishers Inc","offers":[{"title":"Default Title","offer_id":48887061774679,"sku":"9781628083200","price":189.74,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781628083200.jpg?v=1722542822"},{"product_id":"copyright-creativity-in-the-digital-economy-balancing-policy-protection-innovation-9781629481890","title":"Copyright \u0026 Creativity in the Digital Economy:","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e","brand":"Nova Science Publishers Inc","offers":[{"title":"Default Title","offer_id":48887080976727,"sku":"9781629481890","price":119.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781629481890.jpg?v=1722542911"},{"product_id":"copyright-the-music-marketplace-analysis-challenges-recommendations-for-improvement-series-9781634828697","title":"Copyright \u0026 the Music Marketplace: Analysis,","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThe United States has the most innovative and influential music culture in the world, but much of the legal framework for licensing of music dates back to the early part of the twentieth century, long before the digital revolution in music. Our licensing system is founded on a view that the music marketplace requires a unique level of government regulation, much of it reflected in statutory licensing provisions of the Copyright Act. The Copyright Office believes that the time is ripe to question the existing paradigm for the licensing of musical works and sound recordings and consider meaningful change. This book provides an analysis, discusses challenges and recommendations for improvement of the copyright laws in the music marketplace","brand":"Nova Science Publishers Inc","offers":[{"title":"Default Title","offer_id":48887195238743,"sku":"9781634828697","price":209.59,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781634828697.jpg?v=1722543458"},{"product_id":"international-approaches-to-online-copyright-enforcement-9781634831680","title":"International Approaches to Online Copyright","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e","brand":"Nova Science Publishers Inc","offers":[{"title":"Default Title","offer_id":48887201268055,"sku":"9781634831680","price":155.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781634831680.jpg?v=1722543484"},{"product_id":"addressing-the-copyright-issues-of-orphan-works-mass-digitization-analyses-proposals-9781634842839","title":"Addressing the Copyright Issues of Orphan Works \u0026","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e","brand":"Nova Science Publishers Inc","offers":[{"title":"Default Title","offer_id":48887222239575,"sku":"9781634842839","price":177.59,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781634842839.jpg?v=1722543569"},{"product_id":"creative-works-the-right-of-making-them-available-in-depth-analyses-9781634855228","title":"Creative Works \u0026 the Right of Making Them","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e","brand":"Nova Science Publishers Inc","offers":[{"title":"Default Title","offer_id":48887245406551,"sku":"9781634855228","price":138.39,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781634855228.jpg?v=1722543667"},{"product_id":"intersection-of-copyright-law-internet-policy-select-issues-perspectives-9781634859141","title":"Intersection of Copyright Law \u0026 Internet Policy:","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e","brand":"Nova Science Publishers Inc","offers":[{"title":"Default Title","offer_id":48887250714967,"sku":"9781634859141","price":138.39,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781634859141.jpg?v=1722543689"},{"product_id":"international-copyright-law-a-practical-global-guide-second-edition-9781787424944","title":"International Copyright Law: A Practical Global","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eFrom its origins protecting the rights of authors and producers on a national level, copyright has expanded to become a semi-harmonised body of law with international reach. With the advance of technology, that reach is directly influencing how many types of business operate and use and protect rights around the world. It is also a high-priority topic on legislative agendas for policy makers.    The second edition of International Copyright Law features up-to-date contributions from experts in over 30 jurisdictions worldwide, setting out the legal framework of their copyright laws and how to protect and exploit rights in creative and entrepreneurial works. It covers the types of work that can be protected, formalities for and duration of protection, rules relating to the ownership of copyright works, defences and infringement.   This edition also contains new chapters on:    The direction of copyright reform in the EU;   Online safe harbour trends;   Developments in expectations for data mining and AI; and   Developments in fair use and fair dealing defences and exceptions.  International Copyright Law, Second Edition will assist individuals in multinational companies and lawyers in private practice who deal with copyright works such as publications, music and films in knowing their rights under copyright law in all the main commercial markets in the world.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eIntroduction 7 Ben Allgrove Baker McKenzie, London  The EU, UK and US approaches to permitted uses under copyright law: comparative reflections and contemporary trends 13 Stavroula Karapapa University of Essex  Data and text mining: an overview of EU developments 21 Ben Allgrove Josh Boyden Jason Raeburn Baker McKenzie, London  Harmonisation of EU copyright law – a long and winding road 29 Birgit Clark Baker McKenzie, London  Argentina 51 Maria Paula Bassi Ana Paula Gallardo Bernard Malone Baker McKenzie, Buenos Aires  Australia 79 Helen Macpherson Allison Manvell Baker McKenzie, Sydney  Belgium 101 Karel Nijs Alain Strowel Patrice Vanderbeeken Pierstone, Brussels  Canada 119 Cristina Mihalceanu Sangeetha Punniyamoorthy DLA Piper (Canada) LLP  China 139 Sharon Qiao Tim Smith Rouse  Denmark 177 Mogens Dyhr Vestergaard Bird \u0026amp; Bird, Copenhagen Jesper Rothe Bech-Bruun, Copenhagen  France 197 Pauline Celeyron Nathalie Marchand Baker McKenzie, Paris  Germany 225 Joachim Lehnhardt Quinn Emanuel Urquhart \u0026amp; Sullivan LLP  Greece 245 George A Ballas Theodore J Konstantakopoulos George Ch Moukas Nikolaos A Papadopoulos Ballas, Pelecanos \u0026amp; Associates LPC  Hong Kong 265 Kenny GK Cheung Baker McKenzie, Hong Kong  India 277 Deepak Gogia Rajendra Kumar Ashish Marbaniang Latha R Nair K\u0026amp;S Partners  Ireland 299 Ciara Browne Gerard Kelly Mason Hayes \u0026amp; Curran LLP  Italy 317 Stefania Baldazzi Sky Italy Laura Borelli Giacomo Vacca Roberto Valenti DLA Piper, Milan  Japan 339 Daisuke Tatsuno Baker McKenzie, Tokyo  Mexico 355 Roberto Arochi Manuel Morante Arochi \u0026amp; Lindner  Netherlands 375 Nathalja Doing Steffen Hagen Baker McKenzie, Amsterdam  New Zealand 389 Justin Graham Chapman Tripp  Philippines 407 Noelle Jenina Francesca E Buan-Nicandro John Paul M Gaba Aleli Angela G Quirino Angara Abello Concepcion Regala \u0026amp; Cruz Law Offices (ACCRALAW)  Poland 427 Krzysztof Czyzewski Czyzewscy Law Firm  Portugal 447 Margarida Castillo Silva Ricardo Henriques César Bessa Monteiro César Bessa Monteiro, Jr Abreu Advogados  Russia 467 Denis I Khabarov Baker McKenzie, Moscow  Singapore 485 Alban Kang Bird \u0026amp; Bird ATMD LLP  South Africa 511 Vicky Stilwell KISCH IP  South Korea 531 Nayoung Kim Seoung-Soo Lee Chang Hwan Shin Kim \u0026amp; Chang  Spain 549 José María Méndez Zori Baker McKenzie, Madrid  Sweden 571 Catharina Bratt Håkan Sjöström Ann-Charlotte Söderlund Björk GOZZO Advokater HB  Thailand 589 Ploynapa Julagasigorn Suebsiri Taweepon Darani Vachanavuttivong Tilleke \u0026amp; Gibbins  Turkey 609 Ug˘ur Aktekin Hande Hançar Mutlu Yıldırım Köse Gün + Partners  United Kingdom 625 Ben Allgrove Julia Dickenson Baker McKenzie, London  United States 649 Danielle Benecke Baker McKenzie, Palo Alto Avi Toltzis Josh Wolkoff Baker McKenzie, New York  Vietnam 681 Quach Minh Tri Tran Manh Hung BMVN International LLC (a member of Baker McKenzie)  About the authors 703  About Globe Law and Business 727","brand":"Globe Law and Business Ltd","offers":[{"title":"Default Title","offer_id":48887828054359,"sku":"9781787424944","price":999.99,"currency_code":"GBP","in_stock":false}]},{"product_id":"becoming-property-9780300222791","title":"Becoming Property","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThis original andrelevant book investigates the relationship between intellectual property and the visual arts in France from the 16th century to the French Revolution. It charts the early history of privilege legislation (today's copyright and patent) for books and inventions, and the translation of its legal terms by and for the image.Those terms are explored in their force of law and in relation to artistic discourse and creative practice in the early modern period. The consequences of commercially motivated law for art and its definitions, specifically its eventual separation from industry, are important aspects of the story. The artists who were caught up in disputes about intellectual property ranged from the officers of the Academy down to the lowest hacks of Grub Street. Lessons from this book may still apply in the 21st century; with the advent of inexpensive methods of reproduction, multiplication, and dissemination via digital channels, questions of intellectual property and the visual arts become important once more.","brand":"Yale University Press","offers":[{"title":"Default Title","offer_id":49401540051287,"sku":"9780300222791","price":54.62,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780300222791.jpg?v=1730477740"},{"product_id":"models-of-integrity-9780520299382","title":"Models of Integrity","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\"An absorbing and rigorously researched new book. . . .Kee does more than provide a recent history of collisions between art and the law. She overlays developments in the two fields, and argues that each one can help us better understand the other. . . . \u003ci\u003eModels of Integrity \u003c\/i\u003ereads as a compelling call for artists, arts professionals, and viewers to work more ambitiously, and to think with more nuance.\"  -- Andrew Russeth, * ARTnews *\u003cbr\u003e\"Kee’s book is a welcome primer on the myriad ways artists have engaged with the law over the past fifty years. What sets it apart from earlier literature is the intricacy with which Kee weaves together art and legal history as mutually informative, arguing that it is because artists are legal subjects within society at large that they have been able to so adroitly critique and illuminate law’s logics. . . It also inspires us to pursue Kee’s revelatory art-historical inquiry into how, when, and why legal conditions influence art.\" * Burlington Magazine *\u003cbr\u003e\u003cp\u003e“This wide-ranging volume offers insights into issues (of certification and distribution, for instance) that shaped Conceptual art.”\u003c\/p\u003e * ArtReview *\u003cbr\u003e\"Meticulously researched and lucidly written, \u003ci\u003eModels of Integrity\u003c\/i\u003e demands that we take the law seriously as one of many structural factors that impact art in complex ways. Kee’s interdisciplinary approach often yields a fresh perspective on her objects of study, assessing them through an underexplored lens and situating them firmly within an expanded social context. And while many people view the law as a dispassionate arbiter of clearly defined rules, Kee reminds us that ambiguity and inconsistency are deeply embedded in the American legal system. Although as a practical matter these uncertainties can chill what may in fact be perfectly legal creative acts, \u003ci\u003eModels of Integrity\u003c\/i\u003e provides an engaging account of a disparate group of artists who jumped wholeheartedly into the fray.\" * Panorama: Journal of the Association of Historians of American Art *\u003cbr\u003e\"The ‘models of integrity’ in Kee's fascinating account are articulated in the intersection of individual codes of conduct, art world conventions, and the range of activities that are both facilitated and enjoined by legal protocols. Taking full advantage of her double background, as a practising lawyer who subsequently turned her attention to art history, Kee examines many telling points of comparison between the two fields while also drawing on a wealth of archival research.\" * Art History *\u003cbr\u003e\"Adds a novel perspective on art law, highlighting how both law and art can serve as sources of creative thinking. Illustrations and scholarship form an integral part of the book, and constitute an unconventional and much needed artistic take on the law [putting] six post-sixties artworks in their legal, historical, political, and artistic contexts.\" * Center for Art Law Blog *\u003cbr\u003e\"Brushing with critical intersections of law and contemporary art, this book explores concepts of integrity as mediated and represented through artworks of the 1960s and onwards. Dancing fuidly between historical context, art theory, and legal theory, each piece of art is grounded in the legal developments of the time: questions of integrity for law and artists, the creation of artistic ownership rights, the constitutive power of property, and the emergence of art forms not yet recognised as art. Through art, Kee opens up vital spaces of legal discussion through depictions of (and participation in) authority, power, disobedience and other possibilities beyond compliance and consensus.\" * Journal for the Semiotics of Law *\u003cbr\u003e“The book speaks to a variety of audiences: those interested in post-1960s art of the United States; in the intersection of art and law; in the history of law and its intersections with art; in art triggering negative accountability and what is now referred to as moral outrage and call-out culture; and in art and its broader connections to social, political, and cultural moments in history. It also gestures toward a neglected field of art historical research that is ripe for development: an art history informed by legal analysis. . . . the strength of \u003ci\u003eModels of Integrity\u003c\/i\u003e is not just its integration of legal analysis into art history, it is also how the book lays the groundwork for (or one might say: operates as a model for) future scholarship examining the intersection of art and law.” * Law \u0026amp; Literature *\u003cbr\u003e\"A perceptive and sophisticated book that brings remarkable insight to the complex entanglements of law and art. It deftly and incisively explores the connections between art and law at a time in history during which there was “a crisis of citizenship.\" Rather than advocating a particular ideological agenda in response to this crisis, through her compelling interpretations of a series of case studies Kee illuminates how the relationships between the art and law invite critical engagement with “politics in need of accounting.” * Law, Culture, and the Humanities *\u003cbr\u003e\"An exceptional and commanding work of scholarship. Despite the author’s qualification that the book might fall short of the visual analysis expected in an art history text, Kee’s book is vividly illustrative, and boldly leads the reader through the oft- fraught liminal space between art and law. The book’s achievements extend far beyond effectively bearing legal concepts on art or narrating the logistical relations between art and law. To be exact, its real feats lie in its rumination on not only the plasticity of the law, but also on art as an extralegal machination that structures our society. In this way, Kee’s work will serve as a model for future scholarship in this emerging interdisciplinary field.\" * Journal of Visual Culture *\u003cbr\u003e\"Joan Kee’s \u003ci\u003eModels of Integrity\u003c\/i\u003e is a fascinating book that makes a valuable contribution to interdisciplinary legal scholarship.\"\u003cbr\u003e   * Edinburgh Law Review *\u003cbr\u003e'\u003ci\u003eModels of Integrity\u003c\/i\u003e offers a provocative account of art that 'messes with' the law.'' * Art Journal *","brand":"University of California Press","offers":[{"title":"Default Title","offer_id":49402908246359,"sku":"9780520299382","price":32.3,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780520299382.jpg?v=1730481819"},{"product_id":"is-it-ours-art-copyright-and-public-interest-9780520344594","title":"Is It Ours  Art Copyright and Public Interest","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eExploring artistic authorship and intellectual property in the contemporary world.    If you have tattoos, who owns the rights to the imagery inked on your body? What about the photos you just shared on Instagram? And what if you are an artist, responding to the surrounding landscape of preexisting cultural forms? Most people go about their days without thinking much about intellectual property, but it shapes all aspects of contemporary life. It is a constantly moving target, articulated through a web of laws that are different from country to country, sometimes contradictory, often contested. Some protections are necessarynot only to benefit creators and inventors but also to support activities that contribute to the culture at largeyet overly broad ownership rights stifle innovation.    Is It Ours? takes a fresh look at issues of artistic expression and creative protection as they relate to contemporary law. Exploring intellectual property, particularly copyrights, Martha Buskirk draws connections between current challenges and early debates about how something intangible could be defined as property. She examines bonds between artist and artwork, including the ways that artists or their heirs retain control over time. The text engages with fundamental questions about the interplay between authorship and ownership and the degree to which all expressions and inventions develop in response to innovations by others. Most importantly, this book argues for the necessity of sustaining a vital cultural commons.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\"Buskirk’s critical, nuanced take on copyright includes varied, important topics, such as a deep dive on the shortcomings of our fair-use exceptions to copyright; discussions on who benefits from copyright restrictions (author or publisher); how to consider moral or personhood rights of the author; and the challenges that fake or forged artwork poses to the art world. . . . \u003ci\u003eIs It Ours?\u003c\/i\u003e exposes the challenges of applying a uniform system to a diverse set of art through examples of cases that involve text, painting, sculpture, music, film, photography, digital images, etc.\" * ARLIS\/NA Reviews *\u003cbr\u003e\u003cp\u003e\"The meticulously researched material makes this text a good reference for librarians, faculty, and graduate students desiring context for the constantly evolving copyright landscape and its impact on our culture.\"\u003c\/p\u003e * College \u0026amp; Research Libraries *\u003cbr\u003e\"\u003ci\u003eIs It Ours?\u003c\/i\u003e provides an impressive range of lawsuits and other conflicts within and beyond the contemporary art world emblematic of different problems that arise when copyright and other types of intellectual property function as a powerful economic engine.\" * Art Journal *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eAcknowledgments \u003cbr\u003e\u003cbr\u003e Introduction: The Convenient Fiction of Authorship\u003cbr\u003e 1. From Privilege to IP\u003cbr\u003e 2. The Appropriation Game\u003cbr\u003e 3. Art, Life, and Infringement\u003cbr\u003e 4. Moral Rights and Beyond\u003cbr\u003e 5. Public Matters\u003cbr\u003e 6. Authorship and the Undead\u003cbr\u003e 7. Status Shifts\u003cbr\u003e 8. From Authentic to Fake\u003cbr\u003e Coda: Life in the Virtual Commons\u003cbr\u003e\u003cbr\u003e Notes\u003cbr\u003e List of Illustrations\u003cbr\u003e Index","brand":"University of California Press","offers":[{"title":"Default Title","offer_id":49402935509335,"sku":"9780520344594","price":34.2,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780520344594.jpg?v=1730481900"},{"product_id":"authors-in-court-9780674984134","title":"Authors in Court","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eMark Rose uses case studies to show how gender and gentility have influenced the self-presentation of authors in court and how the personal styles, public personas, and histories of novelists, dramatists, poets, photographers, and cartoonists have influenced the development of legal doctrine around issues of copyright.","brand":"Harvard University Press","offers":[{"title":"Default Title","offer_id":49403628159319,"sku":"9780674984134","price":24.26,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780674984134.jpg?v=1730484062"},{"product_id":"pirates-and-publishers-9780691171821","title":"Pirates and Publishers","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\"Winner of the Peter Gonville Stein Book Award, American Society for Legal History\"\u003cbr\u003e\"Runner-Up Commendation for the DeLong Book History Book Prize, Society for the History of Authorship, Reading, and Publishing\"\u003cbr\u003e\"Wang’s book . . . is [an] equally fundamental (soon to be called seminal, I believe) piece of literature as Alford’s title. Wang’s monograph dug into extreme depth.\"\u003cb\u003e---Péter Mezei, \u003ci\u003eJournal of Intellectual Property Law \u0026amp; Practice\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\"Wang’s book adds substantially both to long-standing and more recent general historical scholarship on modern China. . . . Wang uses her archival and published sources to make original, insightful, even brilliant arguments that, while clearly located within recognizable lineages of empirical social, cultural, and legal historiography, also extend that historiography in innovative and important ways. Wang writes vigorous yet nuanced jargon-free narrative and analytical prose. She knows how to tell a story. Her writing in this book will undoubtedly appeal to both scholars and laymen.\"\u003cb\u003e---Christopher A. Reed, \u003ci\u003eJournal of Chinese History\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\"[A] meticulously researched and highly readable new book. . . .  There is a widespread general perception, even among specialists, that copyright and related intellectual property rights have always been an awkward alien import in China and enjoy no genuine social recognition or support. \u003ci\u003ePirates and Publishers\u003c\/i\u003e makes a strong and convincing case for revising the latter notion.\"\u003cb\u003e---Michel Hockx, \u003ci\u003eJournal of Asian Studies\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\"What Wang does offer, through both standard resources and a unique cross-referencing of Booksellers Guild records with the Shanghai Municipal Archives, is forgotten slice of China’s economic and cultural history, largely presented here—at least by the standards of copyright law—as a rollicking read.\"\u003cb\u003e---Ken Smith, \u003ci\u003eAsian Review of Books\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\"Ambitious and insightful.\"\u003cb\u003e---Nicolai Volland, \u003ci\u003eEast Asian Publishing and Society\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\"\u003cp\u003eUltimately, Wang’s book is a fine work of scholarship that persuasively demonstrates that, beyond the narrow confines of the formal law, there was a vast and socioeconomically significant dimension of institutional agency in early twentieth-century Chinese copyright practices. The book introduces much social complexity and nuance to a topic that has all too often lacked both.\u003c\/p\u003e\"\u003cb\u003e---Shyamkrishna Balganesh \u0026amp; Taisu Zhang, \u003ci\u003eHarvard Law Review\u003c\/i\u003e\u003c\/b\u003e","brand":"Princeton University Press","offers":[{"title":"Default Title","offer_id":49403831583063,"sku":"9780691171821","price":31.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780691171821.jpg?v=1730484669"},{"product_id":"pirates-and-publishers-a-social-history-of-copyright-in-modern-china-9780691202686","title":"Pirates and Publishers  A Social History of","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\"Winner of the Peter Gonville Stein Book Award, American Society for Legal History\"\u003cbr\u003e\"Runner-Up Commendation for the DeLong Book History Book Prize, Society for the History of Authorship, Reading, and Publishing\"\u003cbr\u003e\"Wang’s book . . . is [an] equally fundamental (soon to be called seminal, I believe) piece of literature as Alford’s title. Wang’s monograph dug into extreme depth.\"\u003cb\u003e---Péter Mezei, \u003ci\u003eJournal of Intellectual Property Law \u0026amp; Practice\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\"Wang’s book adds substantially both to long-standing and more recent general historical scholarship on modern China. . . . Wang uses her archival and published sources to make original, insightful, even brilliant arguments that, while clearly located within recognizable lineages of empirical social, cultural, and legal historiography, also extend that historiography in innovative and important ways. Wang writes vigorous yet nuanced jargon-free narrative and analytical prose. She knows how to tell a story. Her writing in this book will undoubtedly appeal to both scholars and laymen.\"\u003cb\u003e---Christopher A. Reed, \u003ci\u003eJournal of Chinese History\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\"[A] meticulously researched and highly readable new book. . . .  There is a widespread general perception, even among specialists, that copyright and related intellectual property rights have always been an awkward alien import in China and enjoy no genuine social recognition or support. \u003ci\u003ePirates and Publishers\u003c\/i\u003e makes a strong and convincing case for revising the latter notion.\"\u003cb\u003e---Michel Hockx, \u003ci\u003eJournal of Asian Studies\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\"What Wang does offer, through both standard resources and a unique cross-referencing of Booksellers Guild records with the Shanghai Municipal Archives, is forgotten slice of China’s economic and cultural history, largely presented here—at least by the standards of copyright law—as a rollicking read.\"\u003cb\u003e---Ken Smith, \u003ci\u003eAsian Review of Books\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\"Ambitious and insightful.\"\u003cb\u003e---Nicolai Volland, \u003ci\u003eEast Asian Publishing and Society\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\"\u003cp\u003eUltimately, Wang’s book is a fine work of scholarship that persuasively demonstrates that, beyond the narrow confines of the formal law, there was a vast and socioeconomically significant dimension of institutional agency in early twentieth-century Chinese copyright practices. The book introduces much social complexity and nuance to a topic that has all too often lacked both.\u003c\/p\u003e\"\u003cb\u003e---Shyamkrishna Balganesh \u0026amp; Taisu Zhang, \u003ci\u003eHarvard Law Review\u003c\/i\u003e\u003c\/b\u003e","brand":"Princeton University Press","offers":[{"title":"Default Title","offer_id":49403887550807,"sku":"9780691202686","price":999.99,"currency_code":"GBP","in_stock":false}]},{"product_id":"the-struggle-for-canadian-copyright-9780774824040","title":"The Struggle for Canadian Copyright","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThe conflicts at the heart of international copyright are explored through the history of Canadian nation-building.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e1 Introduction\u003c\/p\u003e\u003cp\u003e2 Canada and the International Copyright System\u003c\/p\u003e\u003cp\u003e3 Imperialism: Canadian Copyright under the Colonial System, 1842-78\u003c\/p\u003e\u003cp\u003e4 United Empire: Canada and the Formation of the \u003cem\u003eBerne Convention,\u003c\/em\u003e 1839-86\u003c\/p\u003e\u003cp\u003e5 \u003cem\u003eBerne\u003c\/em\u003e Buster: The Struggle for Canadian Copyright Sovereignty, 1887-1908\u003c\/p\u003e\u003cp\u003e6 The New Imperial Copyright, 1895-1914\u003c\/p\u003e\u003cp\u003e7 Copyright “Sovereignty,” 1914-24\u003c\/p\u003e\u003cp\u003e8 Copyright Internationalism: Canada’s Debut, 1927-36\u003c\/p\u003e\u003cp\u003e9 New Directions, 1936-67\u003c\/p\u003e\u003cp\u003e10 Crisis in International Copyright, 1967\u003c\/p\u003e\u003cp\u003e11 Re-engagement, 1967-77\u003c\/p\u003e\u003cp\u003e12 After 1971\u003c\/p\u003e\u003cp\u003e13 Conclusion\u003c\/p\u003e\u003cp\u003eNotes\u003c\/p\u003e\u003cp\u003eBibliography and Archival Sources\u003c\/p\u003eIndex","brand":"University of British Columbia Press","offers":[{"title":"Default Title","offer_id":49404926755159,"sku":"9780774824040","price":73.8,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780774824040.jpg?v=1730488078"},{"product_id":"the-struggle-for-canadian-copyright-9780774824057","title":"The Struggle for Canadian Copyright","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThe conflicts at the heart of international copyright are explored through the history of Canadian nation-building.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e1 Introduction\u003c\/p\u003e\u003cp\u003e2 Canada and the International Copyright System\u003c\/p\u003e\u003cp\u003e3 Imperialism: Canadian Copyright under the Colonial System, 1842-78\u003c\/p\u003e\u003cp\u003e4 United Empire: Canada and the Formation of the \u003cem\u003eBerne Convention,\u003c\/em\u003e 1839-86\u003c\/p\u003e\u003cp\u003e5 \u003cem\u003eBerne\u003c\/em\u003e Buster: The Struggle for Canadian Copyright Sovereignty, 1887-1908\u003c\/p\u003e\u003cp\u003e6 The New Imperial Copyright, 1895-1914\u003c\/p\u003e\u003cp\u003e7 Copyright “Sovereignty,” 1914-24\u003c\/p\u003e\u003cp\u003e8 Copyright Internationalism: Canada’s Debut, 1927-36\u003c\/p\u003e\u003cp\u003e9 New Directions, 1936-67\u003c\/p\u003e\u003cp\u003e10 Crisis in International Copyright, 1967\u003c\/p\u003e\u003cp\u003e11 Re-engagement, 1967-77\u003c\/p\u003e\u003cp\u003e12 After 1971\u003c\/p\u003e\u003cp\u003e13 Conclusion\u003c\/p\u003e\u003cp\u003eNotes\u003c\/p\u003e\u003cp\u003eBibliography and Archival Sources\u003c\/p\u003eIndex","brand":"University of British Columbia Press","offers":[{"title":"Default Title","offer_id":49404926820695,"sku":"9780774824057","price":26.99,"currency_code":"GBP","in_stock":false}]},{"product_id":"the-eureka-myth-9780804783385","title":"The Eureka Myth","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eAre innovation and creativity helped or hindered by our intellectual property laws? In the two hundred plus years since the Constitution enshrined protections for those who create and innovate, we're still debating the merits of IP laws and whether or not they actually work as intended. Artists, scientists, businesses, and the lawyers who serve them, as well as the Americans who benefit from their creations all still wonder: what facilitates innovation and creativity in our digital age? And what role, if any, do our intellectual property laws play in the growth of innovation and creativity in the United States? Incentivizing the progress of science and the useful arts has been the goal of intellectual property law since our constitutional beginnings. The Eureka Myth cuts through the current debates and goes straight to the source: the artists and innovators themselves. Silbey makes sense of the intersections between intellectual property law and creative and innovative activity by cent\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\"Ultimately, \u003ci\u003eThe Eureka Myth\u003c\/i\u003e does truly 'chart new terrain for our understanding of . . . scientific and artistic innovation and the intellectual property that purports to sustain them' (pp.5–6). Silbey offers unique insights into the work and motivations of creators and innovators and makes an original and thoughtful contribution to the discourse on intellectual property rights. \u003ci\u003eThe Eureka Myth\u003c\/i\u003e would be a good addition to an academic law library collection, and it is a worthwhile read for anyone interested in intellectual law and policy.\"—Morgan M. Stoddard, \u003ci\u003eLaw Library Journal\u003c\/i\u003e\u003cbr\u003e\"The purpose of intellectual property laws is to promote the 'progress of science and useful arts' by securing property rights for authors and creators . . . Silbey articulates a compelling challenge to the incentive argument . . . A compelling counter to common assumption about IP law, backed by interesting anecdotal evidence, that will interest IP law scholars and practitioners . . . Recommended.\"—C. Fruin, \u003ci\u003eCHOICE\u003c\/i\u003e\u003cbr\u003e\"\u003ci\u003eThe Eureka Myth\u003c\/i\u003e substantially advances our understanding of why and how artists, scientists, businesses, and the lawyers who serve them use intellectual property as part of broader strategies, and how both economic and moral claims about creativity and IP match—and mismatch—with the formal law.\"—Rebecca Tushnet, Georgetown University Law Center\u003cbr\u003e\"\u003ci\u003eThe Eureka Myth\u003c\/i\u003e enriches our empirical understanding of the roles that intellectual property laws play in the lives of individual creators in scientific, and more literary and artistic fields. This provocative book explains why creators sometimes under-enforce their rights, and contrary to the common assumptions of IP specialists, it shows that individual creators rarely think of intellectual property rights as an inducement to be creative.\"—Pamela Samuelson, Berkeley Law School\u003cbr\u003e\"The relationship between intellectual property law and human creativity is too often assumed rather than interrogated. By listening to creators, Silbey uncovers new and different reasons why people create and how intellectual property matters. This wise and luminous book is required reading for anyone who claims to understand IP law.\"—Julie E. Cohen, Georgetown University\u003cbr\u003e\"At last—a book that provides the only sound basis for sound policy. Silbey did the hard work of asking those who create why they create and what they need to keep creating. In place of phony political bromides like 'I stand with artists,' we can finally hear what artists themselves say. We should listen.\"—Bill Patry, Senior Copyright Counsel, Google\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eContents and AbstractsIntroduction: Introduction chapter abstract\u003cp\u003eThe introduction introduces the book as a qualitative empirical interview study with artists, scientists, engineers and business people in creative and innovative industries. It situates the book as an investigation into the motives and mechanisms of creative and innovative work and in the context of the theoretical and quantitative literature on IP and its success at achieving the \"progress of science and the useful arts,\" a Constitutional goal. Based on analysis of the accounts from the interviews, the introduction describes how there exists a diversity of reasons for and mechanisms by which creative and innovative work gets made and distributed, only a small part of which is intellectual property law. This challenges core principles of IP law, especially an assumption that exclusivity through property rights is essential to stimulating art, science and technological progress.\u003c\/p\u003e 1Inspired Beginnings chapter abstract\u003cp\u003eChapter 1 traces the features of a specific story form, \"the origin story\" throughout the interviews. An \"origin story\" begins with an inspired moment that sets the person or organization on its path. Origin stories serves particular purposes. They explain how a culture or society began (e.g., Genesis). They infuse an aspect of everyday life with special significance by explaining why things are as they are (e.g., \"you were born that way\"). They guide how things should evolve in the future (e.g., \"the agreement memorializes our future intentions\"). Each interviewee explains a milestone in their professional life in terms of an origin story, referring to a past that has unique significance for making sense of the present. Chapter 1 canvasses these origin stories to explain how most describe the embarkation of their work in art or science mostly due to intrinsic or serendipitous forces, unrelated to IP.\u003c\/p\u003e 2Daily Craft: Work Makes Work chapter abstract\u003cp\u003eChapter 2 explores the varied ways the interviewees describe their daily work. Similarities in accounts coalesce around the dimensions of time, space and labor. Most articulate a common respect for constant and committed daily work, focusing on the importance of physical spaces (studio, lab, desk) and time spent. Distinct metaphors and word patterns illuminate the expressive focus on time, space and labor, highlighting a misfit between IP protection and the interviewees' aspirations or expectations for reward. Interviewees describe work with natural metaphors (e.g., harvesting or fishing), implying that the physical labor dignifies the output. This contrasts with IP, which does not reward labor or time. Interviewees translate their intellectual work into tangible output, comparing their work to real or personal property. Ironically, describing the value of their work in material terms strengthens the possessive impulse manifesting as property claims that are more robust than IP law provides.\u003c\/p\u003e 3Making Do With A Mismatch chapter abstract\u003cp\u003eChapter 3 describes the transitions from beginnings and everyday work to the business of developing a career in IP-rich fields. Interviewees provide diverse accounts of \"making do\" in creative and innovative industries. Although some interviewees describe direct reliance on specific forms of IP, many business models rely only indirectly on IP rights. Indeed, most interviewees embrace a system of IP that is \"leaky\" or misaligned insofar as IP is not the optimal avenue for achieving professional goals. Interviewees rarely describe the need to exercise the full range of exclusivity to which IP law entitles them. Although IP rights are both under-enforced and over-enforced at times, the most common strategy interviewees describe is to relax IP rights in order to achieve three common goals: a sustainable business, productive and satisfying relationships, and a measure of autonomy in life and work.\u003c\/p\u003e 4Reputation chapter abstract\u003cp\u003eChapter 4 describes how interviewees value reputation and attribution. When asked to describe some of the most contentious infractions during their career, interviewees describe reputational free riding, not economic free riding. And where the two intersect (which is often, especially in the trademark context), language of dignity and desert rather than economic harm dominates. Moreover, interviewees assert a desire for reputational control from IP law where it rarely exists. This Chapter analyzes the common accounts and metaphors that predominate in stories of reputational injury – stories of family, bodily integrity and life or death. Understandably, emotions run high in this context and the language seeking to justify the entitlement to reputational control often resemble stronger rights and obligations than IP (or neighboring regimes) provide. Over-protection in these situations can lead to misuse of IP laws or an increasing frustration from artists and scientists that IP law is irrelevant to them.\u003c\/p\u003e 5Instruction: How Lawyers Harvest IP chapter abstract\u003cp\u003eChapter Five describes how IP intervenes as an external force shaping and directing art and science. IP law affecting the work's on-going vitality is largely absent until a lawyer or business partner intervenes. IP arrives later for creative and innovative work trajectory and comes with a coach. Interviewees describe lawyers as disruptive and distracting, whereas the lawyer describes herself as bringing tools to facilitate work or business. When the lawyer is welcome, it is when she has translated IP into client interests resonating with everyday work or goals. The lawyer's varied characterizations of IP in terms the client accepts correlates to jurisprudential categories of legality (e.g., natural law, distributive justice). This invites the conclusion that IP's form and purpose, shaped by legal advice and client concerns, is not predetermined by legal rules or economic principles, but is constitutive of creativity and innovation and influenced by preexisting interests and motivations.\u003c\/p\u003e 6Distribution: How IP Circulates chapter abstract\u003cp\u003eDissemination is the ultimate goal of IP and a dominant reason interviewees pursue their work. Interviewees describe managing formal and informal agreements outlining the nature and scope of distribution. These agreements vary, from free and promiscuous sharing to circumscribed and discriminating price schemes. The propertization of the work (protecting it through exclusivity) is sometimes a precondition to fulfilling distribution goals, which include: earning a living, building relationships, sustaining professional autonomy and challenging core competencies. But interviewees describe how relaxed distribution networks satisfy most personal and professional goals. Indeed, strictly controlling dissemination – what IP law provides – is only one distributional method and not the most common. This chapter analyzes the interviews for accounts of the many forms dissemination takes and the reasons for engaging in it, unpacking the relationships between exclusive rights to distribution on the one hand and dissemination as a form of professional and personal success on the other.\u003c\/p\u003e Conclusion: Conclusion chapter abstract\u003cp\u003eThe book closes with a summary of how U.S. intellectual property regimes are misaligned with the needs of and hopes for those engaging in creative and inventive work. It further suggests reasons for and ways that the IP system should remain misaligned: to promote choice and flexibility for creators and innovators (whether or not they own or claim IP rights). But the conclusion also suggests places in our IP system where some relaxation of our IP system might usefully occur in order to facilitate core concerns of IP-rich fields and their audience as accounted for in the interview data.\u003c\/p\u003e","brand":"Stanford University Press","offers":[{"title":"Default Title","offer_id":49405607575895,"sku":"9780804783385","price":21.59,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780804783385.jpg?v=1730492977"},{"product_id":"the-eureka-myth-9780804783378","title":"The Eureka Myth","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eAre innovation and creativity helped or hindered by our intellectual property laws? In the two hundred plus years since the Constitution enshrined protections for those who create and innovate, we're still debating the merits of IP laws and whether or not they actually work as intended. Artists, scientists, businesses, and the lawyers who serve them, as well as the Americans who benefit from their creations all still wonder: what facilitates innovation and creativity in our digital age? And what role, if any, do our intellectual property laws play in the growth of innovation and creativity in the United States? Incentivizing the progress of science and the useful arts has been the goal of intellectual property law since our constitutional beginnings. The Eureka Myth cuts through the current debates and goes straight to the source: the artists and innovators themselves. Silbey makes sense of the intersections between intellectual property law and creative and innovative activity by cent\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\"Ultimately, \u003ci\u003eThe Eureka Myth\u003c\/i\u003e does truly 'chart new terrain for our understanding of . . . scientific and artistic innovation and the intellectual property that purports to sustain them' (pp.5–6). Silbey offers unique insights into the work and motivations of creators and innovators and makes an original and thoughtful contribution to the discourse on intellectual property rights. \u003ci\u003eThe Eureka Myth\u003c\/i\u003e would be a good addition to an academic law library collection, and it is a worthwhile read for anyone interested in intellectual law and policy.\"—Morgan M. Stoddard, \u003ci\u003eLaw Library Journal\u003c\/i\u003e\u003cbr\u003e\"The purpose of intellectual property laws is to promote the 'progress of science and useful arts' by securing property rights for authors and creators . . . Silbey articulates a compelling challenge to the incentive argument . . . A compelling counter to common assumption about IP law, backed by interesting anecdotal evidence, that will interest IP law scholars and practitioners . . . Recommended.\"—C. Fruin, \u003ci\u003eCHOICE\u003c\/i\u003e\u003cbr\u003e\"\u003ci\u003eThe Eureka Myth\u003c\/i\u003e substantially advances our understanding of why and how artists, scientists, businesses, and the lawyers who serve them use intellectual property as part of broader strategies, and how both economic and moral claims about creativity and IP match—and mismatch—with the formal law.\"—Rebecca Tushnet, Georgetown University Law Center\u003cbr\u003e\"\u003ci\u003eThe Eureka Myth\u003c\/i\u003e enriches our empirical understanding of the roles that intellectual property laws play in the lives of individual creators in scientific, and more literary and artistic fields. This provocative book explains why creators sometimes under-enforce their rights, and contrary to the common assumptions of IP specialists, it shows that individual creators rarely think of intellectual property rights as an inducement to be creative.\"—Pamela Samuelson, Berkeley Law School\u003cbr\u003e\"The relationship between intellectual property law and human creativity is too often assumed rather than interrogated. By listening to creators, Silbey uncovers new and different reasons why people create and how intellectual property matters. This wise and luminous book is required reading for anyone who claims to understand IP law.\"—Julie E. Cohen, Georgetown University\u003cbr\u003e\"At last—a book that provides the only sound basis for sound policy. Silbey did the hard work of asking those who create why they create and what they need to keep creating. In place of phony political bromides like 'I stand with artists,' we can finally hear what artists themselves say. We should listen.\"—Bill Patry, Senior Copyright Counsel, Google\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eContents and AbstractsIntroduction: Introduction chapter abstract\u003cp\u003eThe introduction introduces the book as a qualitative empirical interview study with artists, scientists, engineers and business people in creative and innovative industries. It situates the book as an investigation into the motives and mechanisms of creative and innovative work and in the context of the theoretical and quantitative literature on IP and its success at achieving the \"progress of science and the useful arts,\" a Constitutional goal. Based on analysis of the accounts from the interviews, the introduction describes how there exists a diversity of reasons for and mechanisms by which creative and innovative work gets made and distributed, only a small part of which is intellectual property law. This challenges core principles of IP law, especially an assumption that exclusivity through property rights is essential to stimulating art, science and technological progress.\u003c\/p\u003e 1Inspired Beginnings chapter abstract\u003cp\u003eChapter 1 traces the features of a specific story form, \"the origin story\" throughout the interviews. An \"origin story\" begins with an inspired moment that sets the person or organization on its path. Origin stories serves particular purposes. They explain how a culture or society began (e.g., Genesis). They infuse an aspect of everyday life with special significance by explaining why things are as they are (e.g., \"you were born that way\"). They guide how things should evolve in the future (e.g., \"the agreement memorializes our future intentions\"). Each interviewee explains a milestone in their professional life in terms of an origin story, referring to a past that has unique significance for making sense of the present. Chapter 1 canvasses these origin stories to explain how most describe the embarkation of their work in art or science mostly due to intrinsic or serendipitous forces, unrelated to IP.\u003c\/p\u003e 2Daily Craft: Work Makes Work chapter abstract\u003cp\u003eChapter 2 explores the varied ways the interviewees describe their daily work. Similarities in accounts coalesce around the dimensions of time, space and labor. Most articulate a common respect for constant and committed daily work, focusing on the importance of physical spaces (studio, lab, desk) and time spent. Distinct metaphors and word patterns illuminate the expressive focus on time, space and labor, highlighting a misfit between IP protection and the interviewees' aspirations or expectations for reward. Interviewees describe work with natural metaphors (e.g., harvesting or fishing), implying that the physical labor dignifies the output. This contrasts with IP, which does not reward labor or time. Interviewees translate their intellectual work into tangible output, comparing their work to real or personal property. Ironically, describing the value of their work in material terms strengthens the possessive impulse manifesting as property claims that are more robust than IP law provides.\u003c\/p\u003e 3Making Do With A Mismatch chapter abstract\u003cp\u003eChapter 3 describes the transitions from beginnings and everyday work to the business of developing a career in IP-rich fields. Interviewees provide diverse accounts of \"making do\" in creative and innovative industries. Although some interviewees describe direct reliance on specific forms of IP, many business models rely only indirectly on IP rights. Indeed, most interviewees embrace a system of IP that is \"leaky\" or misaligned insofar as IP is not the optimal avenue for achieving professional goals. Interviewees rarely describe the need to exercise the full range of exclusivity to which IP law entitles them. Although IP rights are both under-enforced and over-enforced at times, the most common strategy interviewees describe is to relax IP rights in order to achieve three common goals: a sustainable business, productive and satisfying relationships, and a measure of autonomy in life and work.\u003c\/p\u003e 4Reputation chapter abstract\u003cp\u003eChapter 4 describes how interviewees value reputation and attribution. When asked to describe some of the most contentious infractions during their career, interviewees describe reputational free riding, not economic free riding. And where the two intersect (which is often, especially in the trademark context), language of dignity and desert rather than economic harm dominates. Moreover, interviewees assert a desire for reputational control from IP law where it rarely exists. This Chapter analyzes the common accounts and metaphors that predominate in stories of reputational injury – stories of family, bodily integrity and life or death. Understandably, emotions run high in this context and the language seeking to justify the entitlement to reputational control often resemble stronger rights and obligations than IP (or neighboring regimes) provide. Over-protection in these situations can lead to misuse of IP laws or an increasing frustration from artists and scientists that IP law is irrelevant to them.\u003c\/p\u003e 5Instruction: How Lawyers Harvest IP chapter abstract\u003cp\u003eChapter Five describes how IP intervenes as an external force shaping and directing art and science. IP law affecting the work's on-going vitality is largely absent until a lawyer or business partner intervenes. IP arrives later for creative and innovative work trajectory and comes with a coach. Interviewees describe lawyers as disruptive and distracting, whereas the lawyer describes herself as bringing tools to facilitate work or business. When the lawyer is welcome, it is when she has translated IP into client interests resonating with everyday work or goals. The lawyer's varied characterizations of IP in terms the client accepts correlates to jurisprudential categories of legality (e.g., natural law, distributive justice). This invites the conclusion that IP's form and purpose, shaped by legal advice and client concerns, is not predetermined by legal rules or economic principles, but is constitutive of creativity and innovation and influenced by preexisting interests and motivations.\u003c\/p\u003e 6Distribution: How IP Circulates chapter abstract\u003cp\u003eDissemination is the ultimate goal of IP and a dominant reason interviewees pursue their work. Interviewees describe managing formal and informal agreements outlining the nature and scope of distribution. These agreements vary, from free and promiscuous sharing to circumscribed and discriminating price schemes. The propertization of the work (protecting it through exclusivity) is sometimes a precondition to fulfilling distribution goals, which include: earning a living, building relationships, sustaining professional autonomy and challenging core competencies. But interviewees describe how relaxed distribution networks satisfy most personal and professional goals. Indeed, strictly controlling dissemination – what IP law provides – is only one distributional method and not the most common. This chapter analyzes the interviews for accounts of the many forms dissemination takes and the reasons for engaging in it, unpacking the relationships between exclusive rights to distribution on the one hand and dissemination as a form of professional and personal success on the other.\u003c\/p\u003e Conclusion: Conclusion chapter abstract\u003cp\u003eThe book closes with a summary of how U.S. intellectual property regimes are misaligned with the needs of and hopes for those engaging in creative and inventive work. It further suggests reasons for and ways that the IP system should remain misaligned: to promote choice and flexibility for creators and innovators (whether or not they own or claim IP rights). But the conclusion also suggests places in our IP system where some relaxation of our IP system might usefully occur in order to facilitate core concerns of IP-rich fields and their audience as accounted for in the interview data.\u003c\/p\u003e","brand":"Stanford University Press","offers":[{"title":"Default Title","offer_id":49405607706967,"sku":"9780804783378","price":89.1,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780804783378.jpg?v=1730492978"},{"product_id":"the-copyright-thing-doesnt-work-here-9780816670031","title":"The Copyright Thing Doesnt Work Here","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThe intersection of Western intellectual property law and traditional knowledge in Africa.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\"Boatema Boateng’s use of life histories to humanize discussions of law, policy, and the exigencies of modernity is as refreshing as the wide analytical net she casts to include the North American African diaspora and reflect upon key concerns such as cultural nationalism on both sides of the Atlantic.\" —Kwasi Konadu, City University of New York\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\"This fine-grained historical and ethnographic inquiry into the social life of Ghanaian textiles is–quite simply and by several degrees of magnitude–the best study anywhere of how Western tropes of intellectual property fail to grasp the complexity of systems in which the traditional arts are practiced today. It tells a cautionary tale with urgent implications for IP scholarship, and it should be required reading for policy-makers in world capitals and at international organizations.\" —Peter Jaszi, American University\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eIntroduction: Indexes of Culture and Power\u003cbr\u003e 1. The Tongue Does Not Rot: Authorship, Ancestors, and Cloth\u003cbr\u003e 2. The Women Don’t Know Anything! Gender, Cloth Production, and Appropriation\u003cbr\u003e 3. Your Face Doesn’t Go Anywhere: Cultural Production and Legal Subjectivity\u003cbr\u003e 4. We Run a Single Country: The Politics of Appropriation\u003cbr\u003e 5. This Work Cannot Be Rushed: Global Flows, Global Regulation\u003cbr\u003e Conclusion: Why \u003ci\u003eShould\u003c\/i\u003e the Copyright Thing Work Here?\u003cbr\u003e Acknowledgments\u003cbr\u003e Notes\u003cbr\u003e Bibliography\u003cbr\u003e Index","brand":"University of Minnesota Press","offers":[{"title":"Default Title","offer_id":49405964845399,"sku":"9780816670031","price":17.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780816670031.jpg?v=1730494069"},{"product_id":"cutting-across-media-9780822348115","title":"Cutting Across Media","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eWith a focus on collage and appropriation art, essays exploring the legal ramifications of such practices in an age when private companies can own culture using copyright and trademark law\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e“Spanning media from visual art to popular music, literature to culture jamming, this series of essays challenges the litigious environment in which copyright is used as a blunt weapon to prevent reinvention of existing works and the transformative process of reuse to inform the creative cycle of ideas. . . . Advanced undergraduates through faculty in art, art history, media studies, film, literature and music will appreciate the interdisciplinary treatment of collage.” - Cara List, \u003ci\u003eARLIS\/NA Reviews\u003c\/i\u003e\u003cbr\u003e“I believe this is an important book, specifically because the issues discussed affect much of our future artistic creations; as mentioned this has profound social and cultural ramifications. As such, this book should be at minimum included as a recommended text in a variety of applicable tertiary education courses. The stakes are too high to ignore the erosion of artistic freedom brought about by ignorant and greed driven application of copyright law.” - Rob Harle, \u003ci\u003eLeonardo\u003c\/i\u003e\u003cbr\u003e“Where the most prominent works on the subject tend to dwell on digital’s infinite capacity to reproduce and share itself freely and its current kowtowing to corporate rights management, this book begins by situating appropriation art and collage in the earlier recesses of the twentieth century with Walter Benjamin, the Surrealists, and Dada. Along the way, it touches upon zine culture, audiotape collage, street art, and new wave science fiction; it critiques the international outflows of copyright-subject culture and then it critiques the debate itself.” - Allie Curry, \u003ci\u003eRain Taxi\u003c\/i\u003e\u003cbr\u003e“Communication is much like a work of art—it is a process of copying, repeating and varying what we hear. There is no originator or owner of that which shapes our very being, and \u003ci\u003eCutting Across Media\u003c\/i\u003e demonstrates how placing restrictions on creative commentary can stifle our cultural development.”—\u003cb\u003eVicki Bennett\u003c\/b\u003e, aka People Like Us\u003cbr\u003e“Reflecting both McLeod’s spirited cultural critique and Kuenzli’s interdisciplinary approach to the arts, \u003ci\u003eCutting Across Media\u003c\/i\u003e explores diverse forms of collage and appropriation in music, painting, publishing, spoken broadcasts, poetry, and narrative. In this collage of essays, readers are challenged to rethink notions of intellectual property and to consider the complex political and cultural issues that accompany collage and appropriation aesthetics.” -- Christine Masters Jach * American Book Review *\u003cbr\u003e“What separates this volume from other contemporary works around sampling and intellectual property law is that research in this area rarely attempts to\u003cbr\u003emarry aesthetic and political concerns so overtly. . . . [A]n edited collection that successfully manages to explore the political and artistic imperatives that inform the practice of collage and appropriation.” -- James Meese * Media International Australia *\u003cbr\u003e“I believe this is an important book, specifically because the issues discussed affect much of our future artistic creations; as mentioned this has profound social and cultural ramifications. As such, this book should be at minimum included as a recommended text in a variety of applicable tertiary education courses. The stakes are too high to ignore the erosion of artistic freedom brought about by ignorant and greed driven application of copyright law.” -- Rob Harle * Leonardo Reviews *\u003cbr\u003e“Spanning media from visual art to popular music, literature to culture jamming, this series of essays challenges the litigious environment in which copyright is used as a blunt weapon to prevent reinvention of existing works and the transformative process of reuse to inform the creative cycle of ideas. . . . Advanced undergraduates through faculty in art, art history, media studies, film, literature and music will appreciate the interdisciplinary treatment of collage.” -- Cara List * ARLIS\/NA Reviews *\u003cbr\u003e“Where the most prominent works on the subject tend to dwell on digital’s infinite capacity to reproduce and share itself freely and its current kowtowing to corporate rights management, this book begins by situating appropriation art and collage in the earlier recesses of the twentieth century with Walter Benjamin, the Surrealists, and Dada. Along the way, it touches upon zine culture, audiotape collage, street art, and new wave science fiction; it critiques the international outflows of copyright-subject culture and then it critiques the debate itself.” -- Allie Curry * Rain Taxi *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eI Collage, Therefore I Am: An Introduction to \u003ci\u003eCutting Across Media\u003c\/i\u003e \/ Kembrew McLeod and Rudolf Kuenzli 1\u003cbr\u003e Digital Mana: On the Source of the Infinite Proliferation of Mutant Copies on Contemporary Culture \/ Marcus Boon 24\u003cbr\u003e Copyrights and Copywrongs: An Interview with Siva Vaidhyanathan \/ Carrie McLaren 38\u003cbr\u003e Das Plagiierenwerk: Convolute Uii \/ David Tetzlaff 51\u003cbr\u003e \u003ci\u003ePhotoStatic Magazine\u003c\/i\u003e and the Rise of the Casual Publisher \/ Lloyd Dunn 57\u003cbr\u003e Plagiarism\u0026amp;reg174; 101: An Appropriated Oral History of the Tape-beatles \/ Kembrew McLeod 76\u003cbr\u003e Ambiguity and Theft \/ Joshua Clover 84\u003cbr\u003e Where Does Sad News Come From? \/ Douglas Kahn 94\u003cbr\u003e Excerpts from \"Two Relationships to a Cultural Public Domain\" \/ Negativland 117\u003cbr\u003e Everybody's Got Something to Hide Except for Me and My Lawsuit: William S. Burroughs, DJ Danger Mouse, and the Politics of Grey Tuesday \/ Davis Schneiderman 132\u003cbr\u003e How Copyright Law Changed Hip-Hop: An Interview with Public Enemy's Chuck D and Hank Shocklee \/ Kembrew McLeod 152\u003cbr\u003e Hip-Hop Meets the Avant-Garde: A Cease and Desist Letter from Attorneys Representing Philip Glass \/ Warner Special Products 158\u003cbr\u003e Getting Snippety \/ Philo T. Farnsworth 160\u003cbr\u003e Crashing the Spectacle: A Forgotten History of Digital Sampling, Infringement, Copyright Liberation, and the End of Recorded Music \/ Kembrew McLeod 164\u003cbr\u003e Billboard Liberation: A Photo Essay \/ Craig Baldwin 178\u003cbr\u003e On the Seamlessly Nomadic Future of Collage \/ Pierre Joris 185\u003cbr\u003e Cultural Sampling and Social Critique: The Collage Aesthetic of Chris Ofili \/ Lorraine Morales Cox 199\u003cbr\u003e Remixing Cultures: Bartók and Kodály in the Age of Indigenous Cultural Rights \/ Gábor Vályi 219\u003cbr\u003e A Day to Sing: Creativity, Diversity, and Freedom of Expression in the Network Society \/ Jeff Chang 237\u003cbr\u003e Visualizing Copyright, Seeing Hegemony: Toward a Meta-Critique of Intellectual Property \/ Eva Hemmungs Wirtén 252\u003cbr\u003e Collage as Practice and Metaphor in Popular Culture \/ David Banash 264\u003cbr\u003e Assassination Weapons: The Visual Culture of New Wave Science Fiction \/ Rob Latham 276\u003cbr\u003e Free Culture: A Conversation with Jonathan Lethem \/ Kembrew McLeod 290\u003cbr\u003e The Ecstasy of Influence: A Plagiarism \/ Jonathan Lethem 298\u003cbr\u003e Bibliography 327\u003cbr\u003e Contributors 341\u003cbr\u003e Index 345","brand":"Duke University Press","offers":[{"title":"Default Title","offer_id":49406062395735,"sku":"9780822348115","price":80.1,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780822348115.jpg?v=1730494399"},{"product_id":"cutting-across-media-9780822348221","title":"Cutting Across Media","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eWith a focus on collage and appropriation art, essays exploring the legal ramifications of such practices in an age when private companies can own culture using copyright and trademark law\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e“Spanning media from visual art to popular music, literature to culture jamming, this series of essays challenges the litigious environment in which copyright is used as a blunt weapon to prevent reinvention of existing works and the transformative process of reuse to inform the creative cycle of ideas. . . . Advanced undergraduates through faculty in art, art history, media studies, film, literature and music will appreciate the interdisciplinary treatment of collage.” - Cara List, \u003ci\u003eARLIS\/NA Reviews\u003c\/i\u003e\u003cbr\u003e“I believe this is an important book, specifically because the issues discussed affect much of our future artistic creations; as mentioned this has profound social and cultural ramifications. As such, this book should be at minimum included as a recommended text in a variety of applicable tertiary education courses. The stakes are too high to ignore the erosion of artistic freedom brought about by ignorant and greed driven application of copyright law.” - Rob Harle, \u003ci\u003eLeonardo\u003c\/i\u003e\u003cbr\u003e“Where the most prominent works on the subject tend to dwell on digital’s infinite capacity to reproduce and share itself freely and its current kowtowing to corporate rights management, this book begins by situating appropriation art and collage in the earlier recesses of the twentieth century with Walter Benjamin, the Surrealists, and Dada. Along the way, it touches upon zine culture, audiotape collage, street art, and new wave science fiction; it critiques the international outflows of copyright-subject culture and then it critiques the debate itself.” - Allie Curry, \u003ci\u003eRain Taxi\u003c\/i\u003e\u003cbr\u003e“Communication is much like a work of art—it is a process of copying, repeating and varying what we hear. There is no originator or owner of that which shapes our very being, and \u003ci\u003eCutting Across Media\u003c\/i\u003e demonstrates how placing restrictions on creative commentary can stifle our cultural development.”—\u003cb\u003eVicki Bennett\u003c\/b\u003e, aka People Like Us\u003cbr\u003e“Reflecting both McLeod’s spirited cultural critique and Kuenzli’s interdisciplinary approach to the arts, \u003ci\u003eCutting Across Media\u003c\/i\u003e explores diverse forms of collage and appropriation in music, painting, publishing, spoken broadcasts, poetry, and narrative. In this collage of essays, readers are challenged to rethink notions of intellectual property and to consider the complex political and cultural issues that accompany collage and appropriation aesthetics.” -- Christine Masters Jach * American Book Review *\u003cbr\u003e“What separates this volume from other contemporary works around sampling and intellectual property law is that research in this area rarely attempts to\u003cbr\u003emarry aesthetic and political concerns so overtly. . . . [A]n edited collection that successfully manages to explore the political and artistic imperatives that inform the practice of collage and appropriation.” -- James Meese * Media International Australia *\u003cbr\u003e“I believe this is an important book, specifically because the issues discussed affect much of our future artistic creations; as mentioned this has profound social and cultural ramifications. As such, this book should be at minimum included as a recommended text in a variety of applicable tertiary education courses. The stakes are too high to ignore the erosion of artistic freedom brought about by ignorant and greed driven application of copyright law.” -- Rob Harle * Leonardo Reviews *\u003cbr\u003e“Spanning media from visual art to popular music, literature to culture jamming, this series of essays challenges the litigious environment in which copyright is used as a blunt weapon to prevent reinvention of existing works and the transformative process of reuse to inform the creative cycle of ideas. . . . Advanced undergraduates through faculty in art, art history, media studies, film, literature and music will appreciate the interdisciplinary treatment of collage.” -- Cara List * ARLIS\/NA Reviews *\u003cbr\u003e“Where the most prominent works on the subject tend to dwell on digital’s infinite capacity to reproduce and share itself freely and its current kowtowing to corporate rights management, this book begins by situating appropriation art and collage in the earlier recesses of the twentieth century with Walter Benjamin, the Surrealists, and Dada. Along the way, it touches upon zine culture, audiotape collage, street art, and new wave science fiction; it critiques the international outflows of copyright-subject culture and then it critiques the debate itself.” -- Allie Curry * Rain Taxi *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eI Collage, Therefore I Am: An Introduction to \u003ci\u003eCutting Across Media\u003c\/i\u003e \/ Kembrew McLeod and Rudolf Kuenzli 1\u003cbr\u003e Digital Mana: On the Source of the Infinite Proliferation of Mutant Copies on Contemporary Culture \/ Marcus Boon 24\u003cbr\u003e Copyrights and Copywrongs: An Interview with Siva Vaidhyanathan \/ Carrie McLaren 38\u003cbr\u003e Das Plagiierenwerk: Convolute Uii \/ David Tetzlaff 51\u003cbr\u003e \u003ci\u003ePhotoStatic Magazine\u003c\/i\u003e and the Rise of the Casual Publisher \/ Lloyd Dunn 57\u003cbr\u003e Plagiarism\u0026amp;reg174; 101: An Appropriated Oral History of the Tape-beatles \/ Kembrew McLeod 76\u003cbr\u003e Ambiguity and Theft \/ Joshua Clover 84\u003cbr\u003e Where Does Sad News Come From? \/ Douglas Kahn 94\u003cbr\u003e Excerpts from \"Two Relationships to a Cultural Public Domain\" \/ Negativland 117\u003cbr\u003e Everybody's Got Something to Hide Except for Me and My Lawsuit: William S. Burroughs, DJ Danger Mouse, and the Politics of Grey Tuesday \/ Davis Schneiderman 132\u003cbr\u003e How Copyright Law Changed Hip-Hop: An Interview with Public Enemy's Chuck D and Hank Shocklee \/ Kembrew McLeod 152\u003cbr\u003e Hip-Hop Meets the Avant-Garde: A Cease and Desist Letter from Attorneys Representing Philip Glass \/ Warner Special Products 158\u003cbr\u003e Getting Snippety \/ Philo T. Farnsworth 160\u003cbr\u003e Crashing the Spectacle: A Forgotten History of Digital Sampling, Infringement, Copyright Liberation, and the End of Recorded Music \/ Kembrew McLeod 164\u003cbr\u003e Billboard Liberation: A Photo Essay \/ Craig Baldwin 178\u003cbr\u003e On the Seamlessly Nomadic Future of Collage \/ Pierre Joris 185\u003cbr\u003e Cultural Sampling and Social Critique: The Collage Aesthetic of Chris Ofili \/ Lorraine Morales Cox 199\u003cbr\u003e Remixing Cultures: Bartók and Kodály in the Age of Indigenous Cultural Rights \/ Gábor Vályi 219\u003cbr\u003e A Day to Sing: Creativity, Diversity, and Freedom of Expression in the Network Society \/ Jeff Chang 237\u003cbr\u003e Visualizing Copyright, Seeing Hegemony: Toward a Meta-Critique of Intellectual Property \/ Eva Hemmungs Wirtén 252\u003cbr\u003e Collage as Practice and Metaphor in Popular Culture \/ David Banash 264\u003cbr\u003e Assassination Weapons: The Visual Culture of New Wave Science Fiction \/ Rob Latham 276\u003cbr\u003e Free Culture: A Conversation with Jonathan Lethem \/ Kembrew McLeod 290\u003cbr\u003e The Ecstasy of Influence: A Plagiarism \/ Jonathan Lethem 298\u003cbr\u003e Bibliography 327\u003cbr\u003e Contributors 341\u003cbr\u003e Index 345","brand":"Duke University Press","offers":[{"title":"Default Title","offer_id":49406062494039,"sku":"9780822348221","price":31.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780822348221.jpg?v=1730494399"},{"product_id":"creative-license-9780822348757","title":"Creative License","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eDraws on interviews with more than 100 musicians, managers, lawyers, journalists, and scholars to critique the music industrys approach to digital sampling.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e“[A] very readable layman’s guide to the legal framework underpinning the American sampling regime. . . . [A] great addition to the growing library of works showing that the endless addition of expanded property rights does nothing to ‘promote the progress’ of music, stifles expression and serves only to let Jimmy Page buy another Aleister Crowley first edition.” - Peter Shapiro, \u003ci\u003eThe Wire\u003c\/i\u003e\u003cbr\u003e“Do you ever listen to records like the Beastie Boys' \u003ci\u003ePaul’s Boutique\u003c\/i\u003e or Public Enemy’s \u003ci\u003eFear of a Black Planet \u003c\/i\u003eand wonder why they sound so different from today’s hip-hop? It turns out one of the biggest reasons may be copyright law. . . . McLeod and DiCola always keep an eye on the bigger picture. They are as interested in the cultural as the legal, and the book succeeds greatly in broad terms as a history of music sampling.” - John McLeod, \u003ci\u003eFlagpole\u003c\/i\u003e\u003cbr\u003e“\u003ci\u003eCreative License\u003c\/i\u003e is for musicians, music fans and anyone interested in the history of hip-hop, sampling, and mash-ups, as well as for those who are curious about the evolution of US copyright and licensing laws. It’s also incredibly timely, given the present climate of our musical culture, when the internet has made sampling—in every medium—a way of life.” - Christel Loar,\u003ci\u003e PopMatters\u003c\/i\u003e\u003cbr\u003e\u003ci\u003e“Creative License\u003c\/i\u003e is recommended not just for music geeks or music business geeks, but for anyone interested in law, the arts or both. Well written and treated with care, McLeod and DiCola’s work should be read on college campuses around the country.” - Stephon Johnson, \u003ci\u003eAmsterdam News\u003c\/i\u003e\u003cbr\u003e“\u003ci\u003eCreative License\u003c\/i\u003e is a fantastic and deep look at the business, art, culture, ethics, history and future of musical sampling. The authors—respected academics\/writers\/filmmakers—undertook to interview a really amazingly wide spectrum of people involved in music production, and what emerges is a clear picture of how legal rulings, historical accidents, musical history, good intentions, naked greed, and conflicts of all kind came to produce our current, very broken system for musical sampling. . . . It's a fascinating and important read.” - Cory Doctorow, \u003ci\u003eBoing-Boing\u003c\/i\u003e\u003cbr\u003e“Readers whose experience started with ‘Can’t Touch This,’ matured with \u003ci\u003eThe Gray Album\u003c\/i\u003e and ended with \u003ci\u003eAll Day\u003c\/i\u003e can expect to have their knowledge substantially broadened. Music junkies, intellectual property lawyers and cultural critics will journey into ‘enemy’ territory. The authors give voices and personalities to sampling artists, holders of publishing and reproduction rights, and the sampled artists who have become a natural resource for the other two groups.“ - David A.M. Goldberg, \u003ci\u003eHonolulu Weekly\u003c\/i\u003e\u003cbr\u003e“Kembrew McLeod and Peter DiCola have written a masterful exploration of the complex creative, financial, and legal issues raised by digital sampling. Their book should be required reading for anyone with a serious interest in music copyright.”—\u003cb\u003eJessica Litman\u003c\/b\u003e, author of \u003ci\u003eDigital Copyright\u003c\/i\u003e\u003cbr\u003e“The fact that a seemingly simplistic artistic notion—of collecting, meshing, and arranging previously recorded sounds—would eventually result in a sharp and comprehensive book, \u003ci\u003eCreative License\u003c\/i\u003e, and companion film, \u003ci\u003eCopyright Criminals\u003c\/i\u003e, is mind boggling. This study is a work of art in itself, so solid that it may leave no other choice but to be sampled as well.”—\u003cb\u003eChuck D\u003c\/b\u003e, co-founder of Public Enemy\u003cbr\u003e“\u003ci\u003eCreative License\u003c\/i\u003e provides a solid explanation of music copyright process and practice and the law for anyone from the legal novice to the full-time music lawyer.” -- Eric Farber * California Lawyer *\u003cbr\u003e“A methodical yet accessible exploration that addresses concerns from several perspectives and invites spirited discussion. Essential for students of intellectual property law, aspiring recording artists or producers, and hip-hop history buffs.” -- Neil Derksen * Library Journal *\u003cbr\u003e“With the high-cost, litigation-aware environment that has emerged around the art of sampling, many artists simply won’t sample any more. As the authors of this excellent book acknowledge. . . . This is not simply a book for people with an interest in hip hop production. It is a must for anyone who is interested in copyright stories so absurd that they reveal the contradictions and tensions at play when unclear and convoluted laws put creativity and commerce on a collision course.” -- Martin James * Times Higher Education *\u003cbr\u003e“\u003ci\u003eCreative License\u003c\/i\u003e is a fantastic and deep look at the business, art, culture, ethics, history and future of musical sampling. The authors—respected academics\/writers\/filmmakers—undertook to interview a really amazingly wide spectrum of people involved in music production, and what emerges is a clear picture of how legal rulings, historical accidents, musical history, good intentions, naked greed, and conflicts of all kind came to produce our current, very broken system for musical sampling. . . . It's a fascinating and important read.” -- Cory Doctorow * Boing-Boing *\u003cbr\u003e“\u003ci\u003eCreative License\u003c\/i\u003e is for musicians, music fans and anyone interested in the history of hip-hop, sampling, and mash-ups, as well as for those who are curious about the evolution of US copyright and licensing laws. It’s also incredibly timely, given the present climate of our musical culture, when the internet has made sampling—in every medium—a way of life.” -- Christel Loar * PopMatters *\u003cbr\u003e“[A] very readable layman’s guide to the legal framework underpinning the American sampling regime. . . . [A] great addition to the growing library of works showing that the endless addition of expanded property rights does nothing to ‘promote the progress’ of music, stifles expression and serves only to let Jimmy Page buy another Aleister Crowley first edition.” -- Peter Shapiro * The Wire *\u003cbr\u003e“Do you ever listen to records like the Beastie Boys' \u003ci\u003ePaul’s Boutique\u003c\/i\u003e or Public Enemy’s \u003ci\u003eFear of a Black Planet \u003c\/i\u003eand wonder why they sound so different from today’s hip-hop? It turns out one of the biggest reasons may be copyright law. . . . McLeod and DiCola always keep an eye on the bigger picture. They are as interested in the cultural as the legal, and the book succeeds greatly in broad terms as a history of music sampling.” -- John McLeod * Flagpole *\u003cbr\u003e“Readers whose experience started with ‘Can’t Touch This,’ matured with \u003ci\u003eThe Gray Album\u003c\/i\u003e and ended with \u003ci\u003eAll Day\u003c\/i\u003e can expect to have their knowledge substantially broadened. Music junkies, intellectual property lawyers and cultural critics will journey into ‘enemy’ territory. The authors give voices and personalities to sampling artists, holders of publishing and reproduction rights, and the sampled artists who have become a natural resource for the other two groups.“ -- David A.M. Goldberg * Honolulu Weekly *\u003cbr\u003e\u003ci\u003e“Creative License\u003c\/i\u003e is recommended not just for music geeks or music business geeks, but for anyone interested in law, the arts or both. Well written and treated with care, McLeod and DiCola’s work should be read on college campuses around the country.” -- Stephon Johnson * Amsterdam News *\u003cbr\u003e“As someone who has studied the subject of digital sampling at some length, I am impressed with and grateful for this book by Kembrew McLeod and Peter DiCola. I am delighted to recommend \u003ci\u003eCreative License\u003c\/i\u003e, an engaging, provocative, and thoroughly researched study of a practice that is equally celebrated, maligned, and misunderstood.” -- Mark Katz * ARSC Journal *\u003cbr\u003e“A smart, impeccably researched, clearly written book that guides the reader through the murky quagmire of musical copyright law and normative industry practices with wit and style.” -- Gilbert B. Rodman * Cultural Studies *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eAcknowledgments vii\u003cbr\u003e Introduction 1\u003cbr\u003e 1. The Golden Age of Sampling 19\u003cbr\u003e 2. A Legal and Cultural History of Sound Collage 36\u003cbr\u003e 3. The Competing Interests in Sample Licensing 75\u003cbr\u003e 4. Sampling Lawsuits: Hip-Hop Goes to Court 128\u003cbr\u003e 5. The Sample Clearance System: How It Works (and How It Breaks Down) 148\u003cbr\u003e 6. Consequences for Creativity: An Assessment of the Sample Clearance System 187\u003cbr\u003e 7. Proposals for Reform 217\u003cbr\u003e Conclusion 258\u003cbr\u003e Appendix 1: Interviewee List 269\u003cbr\u003e Appendix 2: Interview Questions 273\u003cbr\u003e Notes 283\u003cbr\u003e Bibliography 303\u003cbr\u003e Index 313\u003cbr\u003e","brand":"Duke University Press","offers":[{"title":"Default Title","offer_id":49406063477079,"sku":"9780822348757","price":25.19,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780822348757.jpg?v=1730494402"},{"product_id":"creativity-and-its-discontents-9780822350828","title":"Creativity and Its Discontents","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eLaikwan Pang offers a complex critical analysis of creativity, creative industries, and the impact of Western copyright laws on creativity in China.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\"Laikwan Pang's thoroughly engaging study sets a new standard for analysis of the 'creative economy,' not just in China, but in every country where government officials have elevated the pursuit of creativity into industrial policy.\"—\u003cb\u003eAndrew Ross\u003c\/b\u003e, author of \u003ci\u003eFast Boat to China\u003c\/i\u003e\u003cbr\u003e\"Making strategic use of the antagonistic role often played by China in the new global economy, Laikwan Pang raises fundamental questions about the hegemonic discourse of creativity as anchored in EuroAmerican traditions of rights, authorship, private property ownership, and reproduction. An admirably ambitious—and creative—book!\"—Rey Chow, author of \u003ci\u003eSentimental Fabulations, Contemporary Chinese Films\u003c\/i\u003e\u003cbr\u003e“The book raises key questions for those interested in understanding the problematic relationship between intellectual property rights and the creative economy: the fetishisation of ‘creativity’ within discourses surrounding these rights, the contentious role of copying in artistic practice and cultural change, and tensions between cultural diversity and global intellectual property frameworks, to name but a few.... [T]his book contains a great deal that is valuable and interesting.” -- Lucy Montgomery * Times Higher Education *\u003cbr\u003e“This volume is, to a significant extent, an attempt to recast the debate over intellectual property rights (IPR) in the context of a broadened definition of creativity and the creative acts of invention and innovation. . . . Readers interested in cultural analysis\/critique of the \"new economy\" would find this text valuable. . . . Recommended.” -- S.J. Gabriel * Choice *\u003cbr\u003e“Pang presents a nuanced and wide-ranging reflection on creativity.” -- Carlos Rojas * Journal of Asian Studies *\u003cbr\u003e“Laikwan Pang offers readers valuable insights into the creative industries in the People’s Republic of China against the backdrop of its rise as a global actor…. [T]he discussion remains broad in scope and informative. It provides many interesting insights such as comparative references to policy choices in other countries, or the important concept of Shanzhai culture in China.” -- Rostam J. Neuwirth and Zhijie Chen * Journal of Cultural Policy *\u003cbr\u003e“Pang provokes alternative readings of shanzhai culture as not mediated exclusively by market forces, and this provides a starting point for discussions about cultural creativity, production and circulation in the global creative economy. Specialists of Chinese contemporary art, tourism, cinema and popular culture will find Pang’s framing of the historical development of these various culture industries both interesting and informative.” -- Ling-Yun Tang * The China Journal *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eAcknowledgments vii\u003cbr\u003e Introduction 1\u003cbr\u003e Part I. Understanding Creativity \u003cbr\u003e 1. Creativity as a Problem of Modernity 29\u003cbr\u003e 2. Creativity as a Product of Labor 47\u003cbr\u003e 3. Creativity as a Construct of Rights 67\u003cbr\u003e Part II. China's Creative Industries and IPR Offenses \u003cbr\u003e 4. Cultural Policy, Intellectual Property Rights, and Cultural Tourism 89\u003cbr\u003e 5. Cinema as a Creative Industry 113\u003cbr\u003e 6. Branding the Creative City with Fine Arts 133\u003cbr\u003e 7. Animation and Transcultural Signification 161\u003cbr\u003e 8. A Semiotics of the Counterfeit Product 183\u003cbr\u003e 9. Imitation or Appropriation Arts? 203\u003cbr\u003e Notes 231\u003cbr\u003e Bibliography 261\u003cbr\u003e Index 289","brand":"Duke University Press","offers":[{"title":"Default Title","offer_id":49406067343703,"sku":"9780822350828","price":25.19,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780822350828.jpg?v=1730494415"},{"product_id":"copyrightandthepublicinterestinchina-9780857931061","title":"copyrightandthepublicinterestinchina","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eGuan Hong Tang expertly highlights how the multidimensional concept of public interest has influenced the development and limitations of Chinese copyright. Comparing Chinese copyright law with the USA and the UK, topical issues are presented in this unique book including those arising within education, library and archives sectors.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eGuan Hong Tang's book offers a fresh, insightful and scholarly treatment of the relationship between the law of copyright and the public interest in China. Copyright legislation in China is a novelty, dating from 1990, and Dr Tang provides a vivid overview of the historical and cultural tensions between traditional Chinese Confucianism and the very concept of copyright, tensions which more recent legislation and case law seek to address. \u003cbr\u003e --- Gillian Davies, Hogarth Chambers, UK\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eContents: Introduction  1. The Opening Up to the World of a Once Isolated Nation  2. Authorship, Access and the Public Interest  3. Administrative Copyright Enforcement – the Authorship Public Interest  4. Public Education, Copyright and the Public Interest  5. Public Libraries, Copyright and the Public Interest  6. Public Archives, Public Copyright and the Public Interest   Conclusion  Appendix: Timeline of Chinese History  Bibliography  Index","brand":"Edward Elgar Publishing Ltd","offers":[{"title":"Default Title","offer_id":49406328308055,"sku":"9780857931061","price":108.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780857931061.jpg?v=1730495411"},{"product_id":"law-applicable-to-copyright-9780857934284","title":"Law Applicable to Copyright","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThis book discusses the problems of applicable law in international copyright infringement cases and examines the solutions proposed to them in the recent projects by the American Law Institute and the European Max Planck Group for Conflict of Laws and Intellectual Property.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eContents: Preface  1. Introduction  General Part: Status Quo  2. Main Rules  3. Evaluation and Alternatives  Specific Part: ALI and CLIP Proposals  4. Introduction to the ALI and CLIP Proposals  5. Lex Loci Protectionis and the Territoriality Principle  6. De Minimis Rule  7. Ubiquitous Infringements Rule  8. Initial Ownership  9. Party Autonomy  10. Conclusions   Bibliography  Index","brand":"Edward Elgar Publishing Ltd","offers":[{"title":"Default Title","offer_id":49406333354327,"sku":"9780857934284","price":104.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780857934284.jpg?v=1730495428"},{"product_id":"the-art-collecting-legal-handbook-9781035300617","title":"The Art Collecting Legal Handbook","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThe Art Collecting Legal Handbook, now in its third edition, is a cross-border legal guide to the ever-changing maze of rules and regulations when acquiring, moving, and sharing works of art and antiquities.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e‘Art dealers are still all too often perceived as international social butterflies who mingle with the super rich hoping to conclude a transaction over a bubbly glass of champagne. This couldn’t be furthest from the truth. Far beyond the usual clichés, art professionals are responsible by law not only of the artwork itself (authenticity, pedigree, provenance, and title) but also of the legal structure used throughout a transaction, including VAT (or any other applicable taxes), customs procedures, and full documentation according to the jurisdictions of the different countries involved. The professional liabilities are simply too important nowadays that legal due diligence has become a cornerstone of our daily work. \u003c\/i\u003eThe Art Collecting Legal Handbook\u003ci\u003e provides us with insightful answers covering the key questions in our field and offering a pragmatic overview of the applicable law in multiple jurisdictions.'\u003c\/i\u003e -- Thomas Seydoux and Emilie Mermillod, Seydoux \u0026amp; Associés Fine Art, France\u003cbr\u003e\u003ci\u003e‘To effectively operate on an international scale, it is crucial to have a thorough understanding of all relevant legal jurisdictions, encompassing aspects such as the acquisitions made in good faith, safeguarding cultural assets, and loans for public exhibitions. T\u003c\/i\u003ehe Art Collecting Legal Handbook\u003ci\u003e has been a consistent source of reliable and cohesive information for my team and me, making it my recommendation to any collector or institution in need of valuable insights prior to seeking legal advice.’\u003c\/i\u003e -- Jean Claude Gandur, Fondation Gandur pour l’Art, Switzerland\u003cbr\u003e\u003ci\u003e‘The third edition of \u003c\/i\u003eThe Art Collecting Legal Handbook\u003ci\u003e is a readable, expert analysis of the key trends and issues underpinning art business today. Covering everything from restitution to NFTs in over 25 of the most important jurisdictions in the art market, there could not be a more authoritative guide for collectors and other art world professionals navigating a path through the post-Covid art world.’\u003c\/i\u003e -- Gareth Harris, The Art Newspaper, UK\u003cbr\u003e\u003ci\u003e‘One of the most fascinating and enjoyable aspects of Art Law as a legal discipline is its sheer breadth and diversity. That breadth exists primarily due to the wide range of legal and ethical considerations which can affect art. The discipline of art law is also constantly evolving as a result of the meeting of art and technology and by shifting public attitudes to cultural property. Bruno Boesch and Massimo Sterpi's excellent \u003c\/i\u003eThe Art Collecting Legal Handbook\u003ci\u003e is a practical Handbook which celebrates the multi-faceted discipline of art law while also providing a comprehensive and comprehensible guide to lawyers and non-lawyers. Presented in a question and answer format, leading art lawyers throughout the world provide answers to a series of key questions on Contract Law, Consumer Protection, Cultural Property Protection, Taxation, Compliance and NFTs. As an international auction house general counsel this handbook is my go-to resource for guidance on questions of international art law.’\u003c\/i\u003e -- Martin Wilson, Chief Legal Counsel, Phillips Auctioneers, UK\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eContents:   Introduction to the Third Edition of The Art Collecting Legal Handbook viii  PART I CURRENT THEMES 1 The same ever changing art market 2 Christine Bourron, CEO, Pi-eX Ltd 2 NFT, illusion or reality in the art world? 10 Sydney Chiche-Attali, Chiche-Attali Avocats, Paris Bar 3 Finding one’s way in the indirect tax maze 18 Neil Millen, Group Indirect Tax Director, Christie’s  PART II NATIONAL 4 Argentina 27 Juan Javier Negri, Negri \u0026amp; Pueyrredon Abogados, Buenos Aires, Argentina 5 Australia 43 Janet Whiting, Jessica Laidman and Duncan Willis, Gilbert + Tobin, Melbourne, Australia 6 Austria 63 Peter M. Polak, Peter Pichlmayr and Thomas Muehlboeck, Vienna, Austria 7 Belgium 84 Lucie Lambrecht and Lucy Ryan, Lambrecht Law Office, Brussels, Belgium 8 Brazil 105 Marcos Ludwig, Valdir Rocha and Gustavo Fróes, Veirano Advogados, Rio de Janeiro, Brazil 9 Canada 120 Brian W. Gray and Ian K. Bies, Toronto, Canada 10 China 140 Angell XI Minjie, Jingtian \u0026amp; Gongcheng, Shanghai, China 11 England and Wales 166 Adrian Parkhouse and Isabel Paintin, Farrer \u0026amp; Co, London, UK 12 Finland 183 Rainer Hilli, Roschier Attorneys Ltd., Helsinki, Finland 13 France 200 Jean-François Canat, Philippe Hansen, Line-Alex Glotin and Laure Assumpçao, UGGC Avocats, Paris, France 14 Germany 217 Dr. Friederike Gräfin von Brühl, M.A., K\u0026amp;L Gates LLP, Berlin, Germany 15 Greece 231 Marina Markellou, lawyer and Assistant Professor, University of Groningen, the Netherlands and Galateia Kapellakou, lawyer and Adjunct Lecturer, University of Patras, Greece 16 Hong Kong 249 Jezamine Fewins, Lewis Silkin, Hong Kong 17 Hungary 262 Dr. Enikő Karsay, SBGK Attorneys at Law, Budapest, Hungary 18 India 281 Lata Krishnamurti and Aarti Sharma 19 Israel 300 Gil Brandes, Nachitz Brandes Amir, Tel Aviv, Israel 20 Italy 315 Massimo Sterpi and Francesca Di Lazzaro, Gianni \u0026amp; Origoni, Rome, Italy 21 Japan 335 Koichi Nakatani, Momo-O, Matsuo \u0026amp; Namba, Tokyo, Japan 22 The Netherlands 351 Laurens Kasteleijn, Art Law Services and Pieter Ariëns Kappers, Bavelaar \u0026amp; Bavelaar Advocaten, Amsterdam, the Netherlands 23 Russia 370 Alekseyev Maxim, Egorova Kira, Ostashenko Maria, Novikova Elena, Kostyuchenko Elizaveta and Presnikov Nikita, ALRUD Law Firm, Moscow, Russia 24 Singapore 390 Lam Chung Nian, Wong Partnership LLP, Singapore 25 Spain 410 Rafael Mateu and Patricia Fernandez Lorenzo, Ramón Y Cajal Abogados, Madrid, Spain 26 Switzerland 428 Antoine Boesch and Nicolas Moreno, Poncet Turrettini, Geneva, Switzerland 27 Turkey 448 Murat Volkan Dülger, Dülger Law Firm, Istanbul, Turkey 28 United States – California 462 Robert Darwell, Sheppard Mullin Richter \u0026amp; Hampton LLP, Los Angeles, USA 29 United States – Federal\/New York 479 Daniel A. Schnapp and Vincent Nguyen, Nixon Peabody LLP, New York, USA 30 United States – Florida 498 Diego R. Figueroa Rodriguez, Of Counsel, DLA Piper, Miami, USA","brand":"Edward Elgar Publishing Ltd","offers":[{"title":"Default Title","offer_id":49406692983127,"sku":"9781035300617","price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781035300617.jpg?v=1730496795"},{"product_id":"the-autonomous-legal-concept-of-communication-to-the-public-9781035302222","title":"The Autonomous Legal Concept of Communication to","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e‘This book offers a fresh perspective regarding the interpretation of the right of communication to the public in EU copyright law by looking into the constitutional blocks of EU law – autonomous legal concepts, and their role in shaping the scope of this right. It clearly determines what type of authorisation is required for widening of the audience in digital realities, by use of different communication models.The result, an excellent and very practical operational model.’\u003c\/i\u003e -- Jan Gunnar Rosén, Stockholm University, Sweden\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eContents: PART I CONTEXTUAL FRAMEWORK 1. Introduction to The Autonomous Legal Concept of Communication to the Public  2. The right of communication to the public, including the right of making available to the public, in a copyright context  PART II HARMONISATION  3. The concept of harmonisation  4. Legislative harmonisation on an international level through multilateral international agreements  5. Legislative harmonisation on the EU level  6. Interpretive harmonisation through the use of autonomous legal concepts: autonomy in form  7. Interpretive harmonisation through the use of autonomous legal concepts: autonomy in substance  PART III COMMUNICATION MODELS  8. Application of communication models  9. Concluding remarks   Index","brand":"Edward Elgar Publishing Ltd","offers":[{"title":"Default Title","offer_id":49406694031703,"sku":"9781035302222","price":106.58,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781035302222.jpg?v=1730496801"},{"product_id":"the-exploitation-of-intellectual-property-rights-9781035311453","title":"The Exploitation of Intellectual Property Rights","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e‘In this volume he edited as ATRIP’s President, Jens Schovsbo turns the analytical spotlight on a key aspect of intellectual property rights, their exploitation, often via licenses and other contractual arrangements. The book offers useful ideas to improve the balance between IP owners and users, and those in between.’\u003c\/i\u003e -- Daniel Gervais, Vanderbilt University, US\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eContents:  The exploitation of intellectual property rights: An overview 1 Jens Schovsbo 1 Regulating online content moderation: Taking stock and moving ahead with procedural justice and due process rights 5 Orit Fischman-Afori 2 Transparency of algorithmic decision-making: Limits posed by IPRs and trade secrets 28 Olga Kokoulina 3 Rebalancing intellectual property rights: A reflection on Australian IPRs, consumer and environmental rights 57 Leanne Wiseman and Kanchana Kariyawasam 4 Use requirements of patent laws during pandemic – ‘litmus test’? 83 Manchikanti Padmavati 5 Access to undisclosed know-how 112 Joy Y. Xiang 6 Sampling the ‘soul of music’ in a post-Pelham world: An interdisciplinary perspective 137 Kalpana Tyagi 7 Copyright reversion: Debates, data, and directions 161 Joshua Yuvaraj 8 Remunerating authors and performers: Are statutory fair compensation provisions sufficient? 187 Irina Eidsvold-Tøien 9 Limiting freedom of contract: Next step for copyright treaties? 216 David Felipe Alvarez-Amezquita and Florelia Vallejo-Trujillo  Index","brand":"Edward Elgar Publishing Ltd","offers":[{"title":"Default Title","offer_id":49406697570647,"sku":"9781035311453","price":105.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781035311453.jpg?v=1730496811"},{"product_id":"writing-in-public-9781421426310","title":"Writing in Public","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eWhat is the role of literary writing in democratic society?Building upon his previous work on the emergence of literature, Trevor Ross offers a history of how the public function of literature changed as a result of developing press freedoms during the period from 1760 to 1810. Writing in Public examines the laws of copyright, defamation, and seditious libel to show what happened to literary writing once certain forms of discourse came to be perceived as public and entitled to freedom from state or private control. Ross argues thatwith liberty of expression becoming entrenched as a national valuethe legal constraints on speech had to be reconceived, becoming less a set of prohibitions on its content than an arrangement for managing the public sphere. The public was free to speak on any subject, but its speech, jurists believed, had to follow certain ground rules, as formalized in laws aimed at limiting private ownership of culturally significant works, maintaining civility in public di\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eWriting in Public\u003c\/i\u003e offers a brilliant synthesis of a massive set of interrelated topics: how the public role of literature gradually and radically shifted; its legal, social and literary causes; and its long-term implications for the public. For those grappling with the question of what literature's public functions were or were supposed to do, Ross offers both an insightful and provoking guide.\u003cbr\u003e—Andrew Benjamin Bricker, Ghent University, \u003ci\u003eReview of English Studies\u003c\/i\u003e\u003cbr\u003e\u003ci\u003eWriting in Public\u003c\/i\u003e makes an ambitious argument with ramifications both for our reading of eighteenth-century literature and our contemporary understanding of literature as a form of public speech. One key strength of Ross's book is the way that highly specific examples are engagingly narrated and then open out into broad historical claims . . . [S]cholars in all areas of eighteenth century studies, as well as historians of free speech and the law, will find it a valuable resource.\u003cbr\u003e—Hannah Doherty Hudson, \u003ci\u003eEighteenth-Century Fiction\u003c\/i\u003e\u003cbr\u003eWhat Ross styles 'a cultural history of ideas about literature's place in the public sphere,' is timely and worth reading . . . This strikingly original volume is largely juridical; while Ben Jonson, Daniel Defoe, and Alexander Pope have their cameos, \u003ci\u003eWriting in Public\u003c\/i\u003e devotes itself to jurists and their legal reasoning as they debated intellectual property, perpetual copyright, the liberty of criticism, seditious libel, and so on.\u003cbr\u003e—\u003ci\u003eUniversity of Toronto Quarterly\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eAcknowledgments \u003c\/p\u003e\u003cp\u003eIntroduction: Writing in Public \u003c\/p\u003e\u003cp\u003ePart I. Copyright\u003cbr\u003e1. Literature in the Public Domain \u003cbr\u003e2. The Fate of Style in an Age of Intellectual Property \u003c\/p\u003e\u003cp\u003ePart II. Defamation and Privacy\u003cbr\u003e3. What Does Literature Publicize? \u003cbr\u003e4. How Criticism Became Privileged Speech: The Case of \u003ci\u003eCarr v. Hood\u003c\/i\u003e (1808) \u003c\/p\u003e\u003cp\u003ePart III. Seditious Libel\u003cbr\u003e5. Literature and the Freedom of Mind \u003c\/p\u003e\u003cp\u003eEpilogue: Unacknowledged Legislators \u003c\/p\u003e\u003cp\u003eNotes \u003cbr\u003eIndex\u003c\/p\u003e","brand":"Johns Hopkins University Press","offers":[{"title":"Default Title","offer_id":49408126517591,"sku":"9781421426310","price":42.75,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781421426310.jpg?v=1730501681"},{"product_id":"dynamic-fair-dealing-9781442646407","title":"Dynamic Fair Dealing","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eDynamic Fair Dealing presents a range of insightful and provocative essays that rethink our relationship to Canadian fair dealing policy.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eINTRODUCING Dynamic Fair Dealing: Creating Canadian Digital Culture  Rosemary J. Coombe (York University, Canada Research Chair in Law, Communication and Culture), Darren Wershler (Concordia University Research Chair in Media \u0026amp; Contemporary Literature) and Martin Zeilinger (Banting Postdoctoral Fellow in Law and Culture, York University).  A. THE CANADIAN COPYRIGHT CONTEXT  I. Provocations: Fair Dealing as Right, Speech, Duty, and Practice   * Copyright and Freedom of Expression: Fair Dealing Between Work and Play  Bita Amani (Queens University, Law School). * From the Right to Copy to Practices of Copying  Marcus Boon (York University, English).   II. Recognizing the Canadian Public Domain   * The Canadian Public Domain: What, Where, and to What End?  Carys Craig (York University, Osgoode Law School). * Dynamic Fair Dealing with Orphan Works: Lessons from \"Real\" Propert  Ren Bucholz (Lenczner Slaght Royce Smith Griffin LLP ) * Publicly Funded, Then Locked Away: The Work of the Canadian Broadcasting Corporation  Kyle Asquith (Western University, Information \u0026amp; Media Studies).   III. Infrastructures for Fair Dealing   * Resisting Enclosure: Licenses, Authorship, and the Commons  John Maxwell (Simon Fraser University, Publishing). * Weaving an Open Web: Innovation and Ethics in the Virtual Commons  Eliot Che (Web Designer, Cultural Shifts). * \"This Content is Not Available in Your Region\": Geo-Blocking Culture in Canada  Pete Urquhart (Wilfrid Laurier University, Communications) and Ira Wagman (Carleton University, Journalism \u0026amp; Communication). * Net Neutrality and the Threat to Open Cultural Expression  Steve Anderson (OpenMedia.ca).   IV. Experiments in Pedagogy and Diversity   * Copyright and Access to Media for People with Perceptual Disabilities  J. P. Udo (Ryerson University, Centre for Learning Technologies) and Deborah Fels (Ryerson University, Centre for Learning Technologies). * If You're Asking, It's not Fair Dealing: Animating Canadian Copyright Issues in a 'Read-Write' Classroom  Matt Soar (Concordia University, Communications). * Hacking Education: How Openness and Sharing Can Transform Learning  Alec V. Couros (IT Coordinator, University of Regina, Faculty of Education).   B. MEDIATIONS  I. Digital Publishing   * Open Access Publishing and Academic Research  Rowland Lorimer (Simon Fraser University, Canadian Centre for Studies in Publishing). * Open Access Mandates and the 'Fair Dealing' Button  Arthur Sale (University of Tasmania, Computer Science), Marc Couture (Universite du Quebec a Montreal, Tele-universite), Eloy Rodrigues (Universidade do Minho, Portugal, Documentation Services), Leslie Carr (University of Southampton, School of Electronics and Computer Science) and Stevan Harnad (Universite du Quebec a Montreal, Canada Research Chair in Cognitive Science).   II. Principles and Practices of Heritage Management   * The Evolution of Cultural Heritage Ethics via Human Rights Norms  Rosemary J. Coombe (Canada Research Chair in Law, Communication and Culture, York University) Nicole Aylwin (York University, Communication and Culture). * Indigenous Cultural Heritage in the Age of Technological Reproducibility: Towards a Postcolonial Ethic of the Public Domain  George Nicholas (Simon Fraser University, Anthropology). * Cultural Diversity: A Central Dimension of Canadian Cultural Heritage?  Nicole Aylwin (York University, Communication and Culture).   III. The Work of Poetics   * Parodists' Rights and Copyright in a Digital Canada  Graham Reynolds (Dalhousie University, Law). * Robin Hood of the Avant-Garde  Kenneth Goldsmith (University of Pennsylvania, Creative Writing). * Remixing bpNichol: 'Direct Dealing' and Recombinatory Art Practices  Justin Stephenson (Trace Pictures Animation and Design).   C. MAKING OUR DIGITAL HERITAGE A DYNAMIC ONE  I. Documenting Pasts and Assessing Virtual Futures   * Copyright Dramas: Theatre Archives and Collections Online  David Meurer (York University, Communication and Culture). * Streaming a Digital Scream: Archiving Toronto's Barbaric Yawp  Suzanne Zelazo (Ryerson University, English). * The NFB, Canada's Experimental Documentary Tradition and Found Futures  Martin Zeilinger (York University, Communication and Culture) and ElHorwatt (YorkUniversity, Film and Media).   II. Recombinant Creativity   * i. Chipmusic, Out of Tune: Crystal Castles and the Misappropriation of Licensed Sound  Martin Zeilinger (York University, Communication and Culture). * 'My Real'll Make Yours a Rental': Hip Hop and Canadian Copyright  Alexandra Boutros (Wilfrid Laurier University, Cultural Studies). * Friction over Fan Fiction  Grace Westcott (Westcott Law, Toronto). * Child-Generated Content: Children's Authorship and Interpretive Practices in Digital Gaming Cultures  Sara M. Grimes (University of Toronto, Faculty of Information).   AFTERWORD: REFLECTIONS  Deal with it  Laura Murray (Queens University, English).  Pull up the stakes and fill in the ditches: the materiality of intellectual property  Darin Barney (McGill University, Art History and Communications).  REFERENCES","brand":"University of Toronto Press","offers":[{"title":"Default Title","offer_id":49408368771415,"sku":"9781442646407","price":59.4,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781442646407.jpg?v=1730502643"},{"product_id":"lions-share-9781478016328","title":"Lions Share","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eVeit Erlmann examines the role of copyright law in post-apartheid South Africa and its impact on the South African music industry, showing how copyright is inextricably entwined with race, popular music, postcolonial governance, indigenous rights, and the struggle to create a more equitable society.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eAcknowledgments  ix\u003cbr\u003e Introduction. “We Do Not Speak the Same Language”  1\u003cbr\u003e 1. Aspirations and Apprehensions: Toward an Anthropology in Law  16\u003cbr\u003e 2. The Past in the Present: Copyright, Colonialism, and “The Lion Sleeps Tonight”  62\u003cbr\u003e 3. Assembling Tradition, Representing Indigeneity: The Making of the Intellectual Property Laws Amendment Act 28 of 2013  109\u003cbr\u003e 4. Circulating Evidence: The Truth about Piracy  174\u003cbr\u003e 5. Which Collective? The Infrastructure of Royalties  232\u003cbr\u003e Conclusion. How to Speak the Same Language, or at Least Try To  301\u003cbr\u003e Appendix. Southern African Copyright: The Basics  309\u003cbr\u003e Notes  315\u003cbr\u003e Bibliography  345\u003cbr\u003e Index  371\u003cbr\u003e  ","brand":"Duke University Press","offers":[{"title":"Default Title","offer_id":49409001652567,"sku":"9781478016328","price":77.35,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781478016328.jpg?v=1730505049"},{"product_id":"lions-share-9781478018964","title":"Lions Share","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eVeit Erlmann examines the role of copyright law in post-apartheid South Africa and its impact on the South African music industry, showing how copyright is inextricably entwined with race, popular music, postcolonial governance, indigenous rights, and the struggle to create a more equitable society.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eAcknowledgments  ix\u003cbr\u003e Introduction. “We Do Not Speak the Same Language”  1\u003cbr\u003e 1. Aspirations and Apprehensions: Toward an Anthropology in Law  16\u003cbr\u003e 2. The Past in the Present: Copyright, Colonialism, and “The Lion Sleeps Tonight”  62\u003cbr\u003e 3. Assembling Tradition, Representing Indigeneity: The Making of the Intellectual Property Laws Amendment Act 28 of 2013  109\u003cbr\u003e 4. Circulating Evidence: The Truth about Piracy  174\u003cbr\u003e 5. Which Collective? The Infrastructure of Royalties  232\u003cbr\u003e Conclusion. How to Speak the Same Language, or at Least Try To  301\u003cbr\u003e Appendix. Southern African Copyright: The Basics  309\u003cbr\u003e Notes  315\u003cbr\u003e Bibliography  345\u003cbr\u003e Index  371\u003cbr\u003e  ","brand":"Duke University Press","offers":[{"title":"Default Title","offer_id":49409009811799,"sku":"9781478018964","price":21.59,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781478018964.jpg?v=1730505075"},{"product_id":"free-speech-beyond-words-9781479805518","title":"Free Speech Beyond Words","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eA look at First Amendment coverage of music, non-representational art, and nonsenseThe Supreme Court has unanimously held that Jackson Pollock's paintings, Arnold Schöenberg's music, and Lewis Carroll's poem Jabberwocky are unquestionably shielded by the First Amendment. Nonrepresentational art, instrumental music, and nonsense: all receive constitutional coverage under an amendment protecting the freedom of speech, even though none involves what we typically think of as speechthe use of words to convey meaning. As a legal matter, the Court's conclusion is clearly correct, but its premises are murky, and they raise difficult questions about the possibilities and limitations of law and expression. Nonrepresentational art, instrumental music, and nonsense do not employ language in any traditional sense, and sometimes do not even involve the transmission of articulable ideas. How, then, can they be treated as speech for constitutional purposes? What does the difficulty of that question su\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\"For someone who does have a deep and abiding interest in [the subject of free speech], or even an interest in the First Amendment in general, this very detailed, well-reasoned work would be an invaluable resource.\" * Journal of Intellectual and Freedom Privacy *\u003cbr\u003e\"Free Speech Beyond Words is a deep dive into the First Amendments reach. [It] is rewarding in its meticulous method of analysis. First Amendment scholars will want it as a valuable resource.\" * Journalism and Mass Communication Quarterly *\u003cbr\u003e\"This is a valuable introduction to a field that will become only more significant with the development of new media, such as virtual reality and digital mapping, that could merit First Amendment protection.\" * Publishers Weekly *\u003cbr\u003e\"The authors of Free Speech Beyond Words turn to other forms of expression that are not literally speech in order to discern some stopping point to prevent tagging everything as speech. [One] lesson to be gleaned from this fine book is that a vibrant First Amendment culture requires a demanding degree of open-mindedness.\" * Political Science Quarterly *\u003cbr\u003e\"\u003cp\u003e\"This thoughtful book takes on the topic of First Amendment coverage of three under-theorized kinds of content: music, non-representational art and nonsense. Even though most everyone assumes these kinds of content are covered by the First Amendment, why should that be so? The book's authors, in the course of addressing many interesting examples, persuasively articulate their doctrinal, philosophical, aesthetic and linguistic approaches to justify such coverage. They thus make important contributions to First Amendment jurisprudence. I confess I am personally very interested in their important project: it has been thirty years since my Wisconsin Law Review article--which they are kind enough to cite--explored the First Amendment and aesthetic justifications for covering non-representational art. I recommend this well-written book not only to First Amendment scholars but to everyone interested in the First Amendment.\"\u003c\/p\u003e \" -- Sheldon Nahmod,University Distinguished Professor, IIT Chicago-Kent College of Law\u003cbr\u003e\"Free Speech Beyond Words is a genuine intellectual feast. By its serious consideration of topics at the periphery of most analyses of the First Amendment, such as abstract art or nonsensical speech, it provides deeply illuminating analyses of the wherefores and whys of protecting expression against governmental regulation. In addition, perhaps because of the topics, the essays are simply fun to read as well.\" -- Sanford Levinson,author of An Argument Open to All: Reading the Federalist in the 21st Century\u003cbr\u003e\"Most people assume that the First Amendment protects art and music even when they have nothing to do with politics or public issues, and even when they don't use words. Explaining why is another matter. This gem of a book takes us deep into theories of free expression to answer a question that is far more difficult than it first appears.\" -- Jack Balkin,Yale Law School","brand":"New York University Press","offers":[{"title":"Default Title","offer_id":49409046872407,"sku":"9781479805518","price":17.09,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781479805518.jpg?v=1730505232"},{"product_id":"copyrights-highway-from-the-printing-press-to-the-cloud-second-edition-9781503609228","title":"Copyright's Highway: From the Printing Press to","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eIn \u003ci\u003eCopyright's Highway\u003c\/i\u003e, one of the nation's leading authorities on intellectual property law offers an engaging, readable, and intelligent analysis of the effect of copyright on American politics, economy, and culture. From eighteenth-century copyright law, to the \"celestial jukebox,\" to the future of copyright issues in the digital age, Paul Goldstein presents a thorough examination of the challenges facing copyright owners and users. \u003c\/p\u003e \u003cp\u003eIn this fully updated second edition, the author expands the discussion to cover the latest developments and shifts in copyright law for a new audience of scholars and students. This expanded edition introduces readers to present and future debates regarding copyright law and policy, including a new chapter on the technological shift in emphasis from producer to consumer and the legal shift from exclusive rights to exceptions and limitations to those rights. From Gutenberg to Google Books, \u003ci\u003eCopyright's Highway, Second Edition\u003c\/i\u003e, offers a concise, essential resource for the internet generation.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\"Paul Goldstein can make the complex issues of copyright law accessible and captivating without sacrificing the nuances of law, politics, and custom that underlie them. With this second edition of \u003ci\u003eCopyright's Highway\u003c\/i\u003e, Goldstein adds timely narratives, such as the Google Book Project, to illustrate the evolving nature of copyright law and its importance to our everyday lives.\" -- Marshall Leaffer * Indiana University Maurer School of Law *\u003cbr\u003e\"A much-awaited new edition of Paul Goldstein's landmark synthesis of the history and policies of US copyright law. Goldstein's comprehensive and deep understanding of the legal, economic, and technological interests at stake thoroughly illuminates this sensitive and accessible study. A new concluding chapter meticulously and critically examines the challenges of 'competing with free' and the landscape-altering consequences of copyright's encounter with internet platforms.\" -- Jane C. Ginsburg * Columbia University *\u003cbr\u003e\"\u003ci\u003eCopyright's Highway\u003c\/i\u003e now an updated and expanded second edition, is one of the most brilliant, lucid, and readable explanations of what is increasingly America's national treasure: our intellectual property. Highly recommended.\" -- Scott Turow * The Authors Guild *\u003cbr\u003e\"Paul Goldstein's eloquent call for a more human-centered discipline of copyright blends perception and prescription to great effect, indicating to the reader how far copyright has yet to go to help creativity flourish—and how it might cover the distance.\" -- Jonathan Zittrain * Harvard University *\u003cbr\u003e\"If you care about the future of innovation, creativity, technology, free speech and privacy and are going to read one book on copyright, give the second version of \u003ci\u003eCopyright's Highway\u003c\/i\u003e a shot. It captures the human drama of battles past, gives a sense of our present, and provides a glimpse into the future.\"––Raymond J. Dowd, \u003ci\u003eNew York Law Journal\u003c\/i\u003e","brand":"Stanford University Press","offers":[{"title":"Default Title","offer_id":49409399357783,"sku":"9781503609228","price":19.79,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781503609228.jpg?v=1730506665"},{"product_id":"copy-this-book-what-data-tells-us-about-copyright-and-the-public-good-9781503613959","title":"Copy This Book!: What Data Tells Us about","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eIn \u003ci\u003eCopy This Book!\u003c\/i\u003e, Paul J. Heald draws on a vast knowledge of copyright scholarship and a deep sense of irony to explain what's gone wrong with copyright in the twenty-first century. Distilling extensive empirical data to clearly show the implications of copyright laws and doctrine for public welfare, he illustrates his findings with lighthearted references to familiar (and obscure) works and their creators (and sometimes their creators' oddball relations). Among the questions he tackles: How does copyright deter composers from writing new songs? Why are so many famous photographs unprotected orphans, and how does Getty Images get away with licensing them? What can the use of music in movies tell us about the proper length of the copyright term? How do publishers get away with claiming rights in public domain works and extracting unmerited royalties from the public? Heald translates piles of data, complex laws, and mysterious economics, equipping readers with the tools for judging past and future copyright law.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\"Heald has pioneered the use of cleverly gathered evidence to demonstrate copyright law's sometimes perverse effects on important outcomes, such as whether long ago–published books are actually available to consumers today. Both entertaining and authoritative, this wonderful book provides a leading expert's guided tour of copyright.\" -- Joel Waldfogel * University of Minnesota *\u003cbr\u003e\"This should be the most important book on copyright policy in America today. Wrapped in a beautifully compelling narrative, the book will quickly become a classic, and hopefully trigger a more classical view of the role of government-backed monopoly in the creation and spread of culture and knowledge.\" -- Lawrence Lessig * Harvard University *\u003cbr\u003e\"This book is so engaging and sensible. This will sound ridiculous, but I can't put it down.\" -- Saul Levmore * University of Chicago *","brand":"Stanford University Press","offers":[{"title":"Default Title","offer_id":49409407320407,"sku":"9781503613959","price":68.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781503613959.jpg?v=1730506695"},{"product_id":"copy-this-book-what-data-tells-us-about-copyright-and-the-public-good-9781503614307","title":"Copy This Book!: What Data Tells Us about","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eIn \u003ci\u003eCopy This Book!\u003c\/i\u003e, Paul J. Heald draws on a vast knowledge of copyright scholarship and a deep sense of irony to explain what's gone wrong with copyright in the twenty-first century. Distilling extensive empirical data to clearly show the implications of copyright laws and doctrine for public welfare, he illustrates his findings with lighthearted references to familiar (and obscure) works and their creators (and sometimes their creators' oddball relations). Among the questions he tackles: How does copyright deter composers from writing new songs? Why are so many famous photographs unprotected orphans, and how does Getty Images get away with licensing them? What can the use of music in movies tell us about the proper length of the copyright term? How do publishers get away with claiming rights in public domain works and extracting unmerited royalties from the public? Heald translates piles of data, complex laws, and mysterious economics, equipping readers with the tools for judging past and future copyright law.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\"Heald has pioneered the use of cleverly gathered evidence to demonstrate copyright law's sometimes perverse effects on important outcomes, such as whether long ago–published books are actually available to consumers today. Both entertaining and authoritative, this wonderful book provides a leading expert's guided tour of copyright.\" -- Joel Waldfogel * University of Minnesota *\u003cbr\u003e\"This should be the most important book on copyright policy in America today. Wrapped in a beautifully compelling narrative, the book will quickly become a classic, and hopefully trigger a more classical view of the role of government-backed monopoly in the creation and spread of culture and knowledge.\" -- Lawrence Lessig * Harvard University *\u003cbr\u003e\"This book is so engaging and sensible. This will sound ridiculous, but I can't put it down.\" -- Saul Levmore * University of Chicago *","brand":"Stanford University Press","offers":[{"title":"Default Title","offer_id":49409407680855,"sku":"9781503614307","price":18.89,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781503614307.jpg?v=1730506695"},{"product_id":"a-shifting-empire-100-years-of-the-copyright-act-1911-9781781003084","title":"A Shifting Empire: 100 Years of the Copyright Act","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThe 1911 Copyright Act, often termed the 'Imperial Copyright Act', changed the jurisprudential landscape in respect of copyright law, not only in the United Kingdom but also within the then Empire. This book offers a bird's eye perspective of why and how the first global copyright law launched a new order, often termed the 'common law copyright system'.\u003cp\u003eThis carefully researched and reflective work draws upon some of the best scholarship from Australia, Canada, India, Israel, Jamaica, New Zealand, Singapore, South Africa and United Kingdom. The authors - academics and practitioners alike - situate the Imperial Copyright Act 1911 within their national laws, both historically and legally. In doing so, the book queries the extent to which the ethos and legacy of the 1911 Copyright Act remains within indigenous laws.\u003c\/p\u003e\u003cp\u003eA Shifting Empire offers a unique global, historical view of copyright development and will be a valuable resource for policymakers, academic scholars and members of international copyright associations.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eContributors include\u003c\/b\u003e: T.G. Agitha, M.D. Birnhack, D. Daley, Y. Gendreau, N.S. Gopalakrishnan, N.-L.W. Loon, G. McLay, S. Ricketson, U. Suthersanen\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e‘An excellent resource for historians and legal scholars, as well as an instructive text for policymakers and international copyright associations, A Shifting Empire is enthusiastically recommended especially for college libraries and reference collections with a focus on copyright law.’ -- The Midwest Book Review\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eContents:  Introduction: Albion’s Legacy? Uma Suthersanen and Ysolde Gendreau  1. The First Global Copyright Act Uma Suthersanen  2. New Zealand and the Imperial Copyright Tradition Geoff McLay  3. The Imperial Copyright Act 1911 in Australia Sam Ricketson  4. Mandatory Copyright: From Pre-Palestine to Israel, 1910–2007 Michael D. Birnhack  5. The Imperial Copyright Act 1911 and the Indian Copyright Law T.G. Agitha and N.S. Gopalakrishnan  6. The Imperial Copyright Act 1911 in Singapore: Copyright Creatures Great and Small, This Act it Made Them All Ng-Loy Wee Loon  7. Shades of Grey: Uncovering the Century Old Imperial Imprint on Jamaica’s Modern Copyright Act Dianne Daley  8. The Imperial Copyright Act 1911’s Role in Shaping South African Copyright Law Tana Pistorius  9. No Copyright Law is an Island Ysolde Gendreau  Index","brand":"Edward Elgar Publishing Ltd","offers":[{"title":"Default Title","offer_id":49411815047511,"sku":"9781781003084","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781781003084.jpg?v=1730514764"},{"product_id":"handbook-on-the-digital-creative-economy-9781781004869","title":"Handbook on the Digital Creative Economy","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eDigital technologies have transformed the way many creative works are generated, disseminated and used. They have made cultural products more accessible, challenged established business models and the copyright system, and blurred the boundary between producers and consumers. This unique resource presents an up-to-date overview of academic research on the impact of digitization in the creative sector of the economy.\u003cp\u003e\u003c\/p\u003e\u003cp\u003eIn 37 chapters, this coherent volume brings together contributions by experts on many aspects of digitization in the creative industries. With its interdisciplinary approach and detailed studies of digitization in the arts, media and cultural industries, the \u003ci\u003eHandbook\u003c\/i\u003e provides accessible material for a range of courses. It will be thought-provoking reading for academics, researchers, students and policy-makers interested in progress in the creative economy.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eContributors include:\u003c\/b\u003e P. Arora, K. Atladottír, P. Bakker, J. Banks, W.J. Baumol, C. Bekar, A. Bruns, S. Cunningham, P. Di Cola, G. Doyle, K. van Eijck, J. Farchy, M. Favale, T. Flew, M. Gansemer, P. Goodridge, C. Handke, E. Haswell, A. Henten, R.M. Hilty, F. Homberg, R. Inglehart, A. Johansson, A. Katz, H. van Kranenburg, M. Kretschmer, M. Latzer, S.J. Liebowitz, M. Majorana, D. Mendis, F. Müller-Langer, T. Navarrete, S. Nérisson, P. Norris, J. Petrou, J. Poort, J. Potts, A. Pratt, M. Scheufen, N. Searle, D. Secchi, P. Stepan, A. Swift, R. Tadayoni, R. Towse, P. Tschmuck, F. Vermeylen, P. Waelbroek, R. Watt, G. White, P. Wikstrom, G. Withers, R. van der Wurff, G.W. Ziggers\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eHandbook on the Digital Creative Economy \u003ci\u003econtains a rich set of insights that have emerged from a diverse and, in some cases, rapidly growing set of literatures and, as such, is a valuable research record of the scholarly ''state of play''.'\u003c\/i\u003e\u003cbr\u003e --\u003ci\u003eJournal of Cultural Economics\u003c\/i\u003e\u003cp\u003e\u003ci\u003e'The digital creative economy is the new frontier in the economics of culture and this volume is the very best place to start in on that topic.'\u003c\/i\u003e\u003cbr\u003e --Tyler Cowen, George Mason University, US\u003c\/p\u003e\u003cp\u003e\u003ci\u003e'Two concepts that have become increasingly prominent in debate about contemporary economic policy are the digital economy and the creative economy. This pioneering Handbook brings these two concepts together, with contributions from a wide range of scholars in economics, law, cultural studies, media and communications. A particular focus of the volume is on copyright issues in the digital environment, especially in the audio-visual, publishing and media industries. This book provides an authoritative overview that will be essential reading for students, researchers and policy-makers working in this rapidly evolving field.'\u003c\/i\u003e\u003cbr\u003e --David Throsby, Macquarie University, Australia\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eContents:  Introduction  Christian Handke and Ruth Towse  PART I: PERSPECTIVES ON DIGITIZATION IN THE CREATIVE ECONOMY 1. General Purpose Technologies  Cliff Bekar and Erin Haswell  2. Reining in Those Unstoppably Rising Costs William J. Baumol  3 Evolutionary Perspectives Jason Potts  4. Space and Place Andy C. Pratt  5. Business Models Nicola Searle and Gregor White  6. Dynamic Competition and Ambidexterity Hans van Kranenburg and Gerrit Willem Ziggers  7. From Prosumption to Produsage Axel Bruns  8. Consumption Patterns Koen van Eijck and Max Majorana  9. Digital Divide Pippa Norris and Ronald Inglehart  PART II: DEVELOPMENT OF TECHNOLOGIES IN THE CREATIVE ECONOMY 10. Copying Technologies Cliff Bekar  11. Technological Change and Cultural Production Peter Tschmuck  12. Media Convergence Michael Latzer  13. Has Digitization Delivered? Fact and Fiction in Digital TV Broadcasting Reza Tadayoni and Anders Henten  PART III: POLICY AND COPYRIGHT ISSUES IN THE DIGITAL CREATIVE ECONOMY 14. Cultural Policy Terry Flew and Adam Swift  15. Measuring the Creative Economy Peter Goodridge  16. International Trade in Audiovisual Products Gillian Doyle  17. Copyright Law Peter Di Cola  18. Copyright Law and Royalty Contracts Richard Watt  19. Copyright and Competition Policy Ariel Katz  20. Collective Copyright Management Reto M. Hilty and Sylvie Nérisson  21. Copyright Levies Joost Poort  PART IV: COPYRIGHT AND DIGITIZATION: EMPIRICAL EVIDENCE 22. Empirical Evidence on Copyright Christian Handke  23. Internet Piracy: The Estimated Impact on Sales Stan J. Liebowitz  24. Artists, Authors’ Rights and Copyright Kristín Atladottír, Martin Kretschmer and Ruth Towse  25. New Opportunities for Authors Joëlle Farchy, Mathilde Gansemer and Jessica Petrou  26. Orphan Works Fabian Homberg, Marcella Favale, Martin Kretschmer, Dinusha Mendis and Davide Secchi   PART V: CREATIVE INDUSTRY STUDIES 27. Performing Arts Ruth Towse  28. Art Markets Payal Arora and Filip Vermeylen  29. Museums Trilce Navarrete  30. Publishing Patrik Wikstrom and Anette Johansson  31. eBook and Book Publishing Joëlle Farchy, Mathilde Gansemer and Jessica Petrou  32. Academic Publishing and Open Access Frank Müller-Langer and Marc Scheufen  33. News Piet Bakker and Richard van der Wurff  34. Digital Music Patrick Waelbroek  35. Film Paul Stepan  36. Broadcasting Glenn Withers  37. Games and Entertainment Software John Banks and Stuart Cunningham","brand":"Edward Elgar Publishing Ltd","offers":[{"title":"Default Title","offer_id":49411817898327,"sku":"9781781004869","price":189.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781781004869.jpg?v=1730514774"},{"product_id":"handbook-on-the-digital-creative-economy-9781781004883","title":"Handbook on the Digital Creative Economy","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eDigital technologies have transformed the way many creative works are generated, disseminated and used. They have made cultural products more accessible, challenged established business models and the copyright system, and blurred the boundary between producers and consumers. This unique resource presents an up-to-date overview of academic research on the impact of digitization in the creative sector of the economy.\u003cp\u003e\u003c\/p\u003e\u003cp\u003eIn 37 chapters, this coherent volume brings together contributions by experts on many aspects of digitization in the creative industries. With its interdisciplinary approach and detailed studies of digitization in the arts, media and cultural industries, the \u003ci\u003eHandbook\u003c\/i\u003e provides accessible material for a range of courses. It will be thought-provoking reading for academics, researchers, students and policy-makers interested in progress in the creative economy.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eContributors include:\u003c\/b\u003e P. Arora, K. Atladottír, P. Bakker, J. Banks, W.J. Baumol, C. Bekar, A. Bruns, S. Cunningham, P. Di Cola, G. Doyle, K. van Eijck, J. Farchy, M. Favale, T. Flew, M. Gansemer, P. Goodridge, C. Handke, E. Haswell, A. Henten, R.M. Hilty, F. Homberg, R. Inglehart, A. Johansson, A. Katz, H. van Kranenburg, M. Kretschmer, M. Latzer, S.J. Liebowitz, M. Majorana, D. Mendis, F. Müller-Langer, T. Navarrete, S. Nérisson, P. Norris, J. Petrou, J. Poort, J. Potts, A. Pratt, M. Scheufen, N. Searle, D. Secchi, P. Stepan, A. Swift, R. Tadayoni, R. Towse, P. Tschmuck, F. Vermeylen, P. Waelbroek, R. Watt, G. White, P. Wikstrom, G. Withers, R. van der Wurff, G.W. Ziggers\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eHandbook on the Digital Creative Economy \u003ci\u003econtains a rich set of insights that have emerged from a diverse and, in some cases, rapidly growing set of literatures and, as such, is a valuable research record of the scholarly ''state of play''.'\u003c\/i\u003e\u003cbr\u003e --\u003ci\u003eJournal of Cultural Economics\u003c\/i\u003e\u003cp\u003e\u003ci\u003e'The digital creative economy is the new frontier in the economics of culture and this volume is the very best place to start in on that topic.'\u003c\/i\u003e\u003cbr\u003e --Tyler Cowen, George Mason University, US\u003c\/p\u003e\u003cp\u003e\u003ci\u003e'Two concepts that have become increasingly prominent in debate about contemporary economic policy are the digital economy and the creative economy. This pioneering Handbook brings these two concepts together, with contributions from a wide range of scholars in economics, law, cultural studies, media and communications. A particular focus of the volume is on copyright issues in the digital environment, especially in the audio-visual, publishing and media industries. This book provides an authoritative overview that will be essential reading for students, researchers and policy-makers working in this rapidly evolving field.'\u003c\/i\u003e\u003cbr\u003e --David Throsby, Macquarie University, Australia\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eContents:  Introduction  Christian Handke and Ruth Towse  PART I: PERSPECTIVES ON DIGITIZATION IN THE CREATIVE ECONOMY 1. General Purpose Technologies  Cliff Bekar and Erin Haswell  2. Reining in Those Unstoppably Rising Costs William J. Baumol  3 Evolutionary Perspectives Jason Potts  4. Space and Place Andy C. Pratt  5. Business Models Nicola Searle and Gregor White  6. Dynamic Competition and Ambidexterity Hans van Kranenburg and Gerrit Willem Ziggers  7. From Prosumption to Produsage Axel Bruns  8. Consumption Patterns Koen van Eijck and Max Majorana  9. Digital Divide Pippa Norris and Ronald Inglehart  PART II: DEVELOPMENT OF TECHNOLOGIES IN THE CREATIVE ECONOMY 10. Copying Technologies Cliff Bekar  11. Technological Change and Cultural Production Peter Tschmuck  12. Media Convergence Michael Latzer  13. Has Digitization Delivered? Fact and Fiction in Digital TV Broadcasting Reza Tadayoni and Anders Henten  PART III: POLICY AND COPYRIGHT ISSUES IN THE DIGITAL CREATIVE ECONOMY 14. Cultural Policy Terry Flew and Adam Swift  15. Measuring the Creative Economy Peter Goodridge  16. International Trade in Audiovisual Products Gillian Doyle  17. Copyright Law Peter Di Cola  18. Copyright Law and Royalty Contracts Richard Watt  19. Copyright and Competition Policy Ariel Katz  20. Collective Copyright Management Reto M. Hilty and Sylvie Nérisson  21. Copyright Levies Joost Poort  PART IV: COPYRIGHT AND DIGITIZATION: EMPIRICAL EVIDENCE 22. Empirical Evidence on Copyright Christian Handke  23. Internet Piracy: The Estimated Impact on Sales Stan J. Liebowitz  24. Artists, Authors’ Rights and Copyright Kristín Atladottír, Martin Kretschmer and Ruth Towse  25. New Opportunities for Authors Joëlle Farchy, Mathilde Gansemer and Jessica Petrou  26. Orphan Works Fabian Homberg, Marcella Favale, Martin Kretschmer, Dinusha Mendis and Davide Secchi   PART V: CREATIVE INDUSTRY STUDIES 27. Performing Arts Ruth Towse  28. Art Markets Payal Arora and Filip Vermeylen  29. Museums Trilce Navarrete  30. Publishing Patrik Wikstrom and Anette Johansson  31. eBook and Book Publishing Joëlle Farchy, Mathilde Gansemer and Jessica Petrou  32. Academic Publishing and Open Access Frank Müller-Langer and Marc Scheufen  33. News Piet Bakker and Richard van der Wurff  34. Digital Music Patrick Waelbroek  35. Film Paul Stepan  36. Broadcasting Glenn Withers  37. Games and Entertainment Software John Banks and Stuart Cunningham","brand":"Edward Elgar Publishing Ltd","offers":[{"title":"Default Title","offer_id":49411817963863,"sku":"9781781004883","price":40.8,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781781004883.jpg?v=1730514774"},{"product_id":"harmonising-copyright-law-and-dealing-with-dissonance-a-framework-for-convergence-of-us-and-eu-law-9781782544180","title":"Harmonising Copyright Law and Dealing with","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eThe book reads so easily you hardly notice the erudition that has gone into it. Whether the authors are right in thinking harmonisation would be easier than is supposed is an open question - one they make you think about seriously.\u003c\/i\u003e'\u003cbr\u003e- Rt Hon Sir Robin Jacob, University College London, UK\u003cp\u003eThis insightful study explores the constitutional, institutional, and cultural barriers to harmonisation of the copyright laws of the United States and the European Union. It considers these matters in the real world transnational environment in which copyright law operates and suggests that the reality transcends the differences, offering a framework for meaningful harmonisation.\u003c\/p\u003e\u003cp\u003eThe authors examine in detail and offer a critique of the sporadic and historic attempts at one or another form of harmonisation, via treaty and otherwise, from the creation of a minimal standards regime to the proliferation of substantive treaties. They similarly examine the respective competencies of the US and the EU to adopt a transnational regime, and propose a workable framework consistent with these competencies.\u003c\/p\u003e\u003cp\u003eOffering a critical analysis of treaties and other prior attempts at forms of harmonization, this book will have special appeal to governmental and nongovernmental individuals involved in the ongoing efforts of WIPO and the WTO, as well as copyright and intellectual property practitioners with internationally oriented practices.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eContents\u003c\/b\u003e: 1. Harmony, Policy, and Power 2. Minimum Standards and International Codes 3. Why We Don't Play Well with Others: U.S. Constitutional Constraints on Harmonisation of Copyright Law 4. If There is a Will, There is a Way…. The Broad Legislative Competence of the European Union 5. A Framework for Harmonisation Index\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e‘The book reads so easily you hardly notice the erudition that has gone into it. Whether the authors are right in thinking harmonisation would be easier than is supposed is an open question – one they make you think about seriously.’ -- Rt Hon Sir Robin Jacob, University College London, UK\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eContents: 1. Harmony, Policy, and Power  2. Minimum Standards and International Codes  3. Why We Don't Play Well with Others: U.S. Constitutional Constraints on Harmonisation of Copyright Law  4. If There is a Will, There is a Way…. The Broad Legislative Competence of the European Union  5. A Framework for Harmonisation   Index","brand":"Edward Elgar Publishing Ltd","offers":[{"title":"Default Title","offer_id":49411961586007,"sku":"9781782544180","price":93.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781782544180.jpg?v=1730515212"}],"url":"https:\/\/bookcurl.com\/collections\/copyright-law.oembed?page=3","provider":"Book Curl","version":"1.0","type":"link"}