By T. Cvetkovski
Copyright governance is in a nation of flux as the obstacles among felony and unlawful intake have blurred. Trajce Cvetkovski interrogates the disorganizational results of piracy and rising applied sciences at the political economic climate of copyright in well known track, movie and gaming industries.
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Additional info for Copyright and Popular Media: Liberal Villains and Technological Change
These rights might be thought to include the freedom to share, swap, enhance and otherwise interfere with the intellectual property contained in the product. This intermixture has caused a dilemma for individuals, as well as owners of copyright in liberal societies. This attitude or belief pertaining to the relationship between ownership and control requires examination because, as Bourdieu and Eagleton (1991, pp. 115–116) argue, the relations between the individual, culture and production have shifted.
His argument … is that modern capital is burdened by the problem of overproduction. Markets can only be stimulated by creating needs … needs which are the result of capital rather than human logic and therefore, inevitably, false. The culture industry is the central agency in contemporary capitalism for the production and satisfaction of false needs. As principal controllers of finished products, corporate players are directly responsible for influencing the mass cultural landscape. In short, these multinationals set the entertainment standard and have standardized the norm for consumers.
Mill’s observation is important because it relates to protecting individuals’ works from greedy behaviour (‘men of money-bags’). It is interesting to note that individuals have accused corporate owners of popular media of displaying monopolistic and greedy tendencies. Copyrights commence as personal rights. One of the most important rights of the owner of the copyright is the right to reproduce the created works (that is, copy the works). Consider the following passage from Slater (1939, p. 206): At common law there was no copyright in literary productions after publication, though there was before.
Copyright and Popular Media: Liberal Villains and Technological Change by T. Cvetkovski