By Arnold Lutzker
Content material Rights for inventive execs is for pros and scholars operating in all components of media (film/video, images, multimedia, net, images, and broadcast) who want to know what the legislations calls for and the way they need to appropriately make the most of copyrights and emblems. This booklet outlines serious suggestions and applies them with factors in real-life functions, together with many circumstances from the author's personal perform in addition to these of varied media professionals.
This 256 web page textual content is a pragmatic consultant designed to supply its reader with a company knowing of the rules underlying the possession and use of content material, in order that while questions come up, they are going to be capable of make right, well-informed decisions-whether bearing on their own works, or works of others corporation needs to copyright or trademark. moreover, the reader might be extra in a position to exercise sound judgment in structuring employment and agreement relationships and of buying and/or licensing works, that are on the center of the enterprise of speaking.
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Additional info for Content Rights for Creative Professionals. Copyrights and Trademarks in a Digital Age
The book (the memoirs of former President Gerald Ford) featured a first-person narrative by the man who pardoned President Richard Nixon. Indeed, President Ford and his publisher had a magazine serialization deal with Time, which promised a preview of the work a few days before formal release. Relying upon a purloined copy, Nation magazine published the part of the book that contained Gerald Ford’s own description of that pardon. 0015%)was about as low as you can go, the use was considered to be the heart of the book.
The local television stations paid hefty fees to acquire programs, while cable operators freely took those signals and made a buck, simply by delivering them, unchanged but with a clearer picture, to households in the market. , New York City stations to Albany, Pittsburgh, or New England), local broadcasters and movie companies screamed. Not only was cable taking the broadcast station’s very signal and programs and making money off the retransmission, it was draining audiences from local affiliates with no legal obligations.
During 1978, the first year of the compulsory scheme, only about $10 million was collected. However, with the growth of cable subscriptions (from 20% of TV households in the early 1970s to almost 70% of such households by the year 2001), the royalty pool multiplied dramatically, reaching a high point of almost $200 million. Since 1998, with the change of WTBS’s satellite service from a retransmitted broadcast signal to a full-time specialty cable network and the explosion of competing satellite service direct to homes (covered by its own compulsory license), cable compulsory royalties have slid to about $120 million annually.
Content Rights for Creative Professionals. Copyrights and Trademarks in a Digital Age by Arnold Lutzker