In the political fight over copyright, Internet advocacy has reshaped the playing field. This was shown in the 2012 'SOPA blackout', when the largest online protest in history stopped two copyright ...bills in their tracks. This protest was the culmination of an intellectual and political evolution more than a decade in the making. This book examines the debate over digital copyright, from the late 1980s through early 2012, and the new tools of political communication involved in the advocacy around the issue. Drawing on methods from legal studies, political science and communications, it explores the rise of a coalition seeking more limited copyright, as well as how these early-adopting, technology-savvy policy advocates used online communication to shock the world. It compares key bills, congressional debates, and offline and online media coverage using quantitative and qualitative methods to create a rigorous study for researchers that is also accessible to a general audience.
The evolution of activism against the expansion of copyright in the digital domain, with case studies of resistance including eBook and iTunes hacks.
The movement against restrictive digital ...copyright protection arose largely in response to the excesses of the Digital Millennium Copyright Act (DMCA) of 1998. In The Digital Rights Movement, Hector Postigo shows that what began as an assertion of consumer rights to digital content has become something broader: a movement concerned not just with consumers and gadgets but with cultural ownership. Increasingly stringent laws and technological measures are more than incoveniences; they lock up access to our “cultural commons.”
Postigo describes the legislative history of the DMCA and how policy “blind spots” produced a law at odds with existing and emerging consumer practices. Yet the DMCA established a political and legal rationale brought to bear on digital media, the Internet, and other new technologies. Drawing on social movement theory and science and technology studies, Postigo presents case studies of resistance to increased control over digital media, describing a host of tactics that range from hacking to lobbying.
Postigo discusses the movement's new, user-centered conception of “fair use” that seeks to legitimize noncommercial personal and creative uses such as copying legitimately purchased content and remixing music and video tracks. He introduces the concept of technological resistance—when hackers and users design and deploy technologies that allows access to digital content despite technological protection mechanisms—as the flip side to the technological enforcement represented by digital copy protection and a crucial tactic for the movement.
Copyright Cornish, Graham P
2019, 2019-10-21
eBook
Cornish's Copyright, the standard work in its field, is indispensable for all librarians and information professionals looking for solutions to their copyright problems.
The copyright wars Baldwin, Peter
2014., 20140922, 2016, 2014, 2014-09-22
eBook
Odprti dostop
Today’s copyright wars can seem unprecedented. Sparked by the digital revolution that has made copyright—and its violation—a part of everyday life, fights over intellectual property have pitted ...creators, Hollywood, and governments against consumers, pirates, Silicon Valley, and open-access advocates. But while the digital generation can be forgiven for thinking the dispute between, for example, the publishing industry and Google is completely new, the copyright wars in fact stretch back three centuries—and their history is essential to understanding today’s battles. The Copyright Wars—the first major trans-Atlantic history of copyright from its origins to today—tells this important story. Peter Baldwin explains why the copyright wars have always been driven by a fundamental tension. Should copyright assure authors and rights holders lasting claims, much like conventional property rights, as in Continental Europe? Or should copyright be primarily concerned with giving consumers cheap and easy access to a shared culture, as in Britain and America? The Copyright Wars describes how the Continental approach triumphed, dramatically increasing the claims of rights holders. The book also tells the widely forgotten story of how America went from being a leading copyright opponent and pirate in the eighteenth and nineteenth centuries to become the world’s intellectual property policeman in the late twentieth. As it became a net cultural exporter and its content industries saw their advantage in the Continental ideology of strong authors’ rights, the United States reversed position on copyright, weakening its commitment to the ideal of universal enlightenment—a history that reveals that today’s open-access advocates are heirs of a venerable American tradition. Compelling and wide-ranging, The Copyright Wars is indispensable for understanding a crucial economic, cultural, and political conflict that has reignited in our own time.
Remix Lessig, Lawrence
2008, 2009, 2009-01-01
eBook
Odprti dostop
This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Lawrence Lessig, the reigning authority on intellectual property ...in the Internet age, spotlights the newest and possibly the most harmful culture war-a war waged against our children and others who create and consume art. Copyright laws have ceased to perform their original, beneficial role: protecting artists' creations while allowing them to build on previous creative works. In fact, our system now criminalises those very actions. By embracing "read-write culture," which allows its users to create art as readily as they consume it, we can ensure that creators get the support-artistic, commercial, and ethical-that they deserve and need. Indeed, we can already see glimmers of a new hybrid economy that combines the profit motives of traditional business with the "sharing economy" evident in such websites as Wikipedia and YouTube. The hybrid economy will become ever more prominent in every creative realm-from news to music-and Lessig shows how we can and should use it to benefit those who make and consume culture. Remix is an urgent, eloquent plea to end a war that harms our children and other intrepid creative users of new technologies. It also offers an inspiring vision of the post-war world where enormous opportunities await those who view art as a resource to be shared openly rather than a commodity to be hoarded.
The antebellum period has long been identified with the belated emergence of a truly national literature. And yet, as Meredith L. McGill argues, a mass market for books in this period was built and ...sustained through what we would call rampant literary piracy: a national literature developed not despite but because of the systematic copying of foreign works. Restoring a political dimension to accounts of the economic grounds of antebellum literature, McGill unfolds the legal arguments and political struggles that produced an American "culture of reprinting" and held it in place for two crucial decades.In this culture of reprinting, the circulation of print outstripped authorial and editorial control. McGill examines the workings of literary culture within this market, shifting her gaze from first and authorized editions to reprints and piracies, from the form of the book to the intersection of book and periodical publishing, and from a national literature to an internally divided and transatlantic literary marketplace. Through readings of the work of Dickens, Poe, and Hawthorne, McGill seeks both to analyze how changes in the conditions of publication influenced literary form and to measure what was lost as literary markets became centralized and literary culture became stratified in the early 1850s.American Literature and the Culture of Reprinting, 1834-1853delineates a distinctive literary culture that was regional in articulation and transnational in scope, while questioning the grounds of the startlingly recent but nonetheless powerful equation of the national interest with the extension of authors' rights.
Jane Secker and Chris Morrison have completely revised and updated this highly successful text to take into account recent developments in the field and changes to the law in the UK and elsewhere in ...the world. Through its practically based overview of current and emerging copyright issues facing those working in e-learning, this book will help equip professionals with the tools, skills and understanding they need to work confidently and effectively in the virtual learning environment with the knowledge that they are doing so legally. New and developing services, software and other technologies are being adapted for online learning environments to engage students and academic staff. These technologies present increasing challenges to IPR and legal issues and this book will help librarians and educators to meet them.
"The scope and legitimacy of private copying is one of the most highly contested issues in digital copyright. While private copying was practiced in the analogue world too, it was tolerated due to ...its minimal impact and to the difficulties related to its monitoring. Yet, its permissibility is ambiguous in the digital environment; this is because digitalisation has enabled ordinary individuals to make and share copies of copyrighted works easily, for no cost and with no degradation in terms of quality. Scholars and lawmakers stress the decisive role of private copying in striking an adequate balance between the freedom to use copyrighted works and the protection of the rightholders' interests in the digital world. In Europe, private copying is explicitly permitted under Article 5(2)(b) of Directive 2001/29/EC on the harmonisation of certain aspects of copyright and related rights in the information society and the national laws that implement it. Despite being a lawful activity in the great majority of European Member States, digital private copying remains a highly controversial phenomenon and the scope of digital private copying remains legally unclear.This book offers an original analysis of private copying and determines the actual scope of private copying as an area of end-user freedom in the digital world. In particular, it examines the permissibility of digital private copying with a view to clarify the legal uncertainty as to its scope. The basis of this examination is Article 5(2)(b) of the Information Society Directive. Under this Article, the use of copyrighted works ought to be 'private' and 'non-commercial' to be permitted; these concepts, however, do not translate well, and tend to be less sharp, in the digital environment. Even though their meaning seems clear and self-evident, their legal boundaries are in practice very vague and not settled by law"--
How students get the materials they need as opportunities for higher education expand but funding shrinks.
From the top down, Shadow Libraries explores the institutions that shape the provision of ...educational materials, from the formal sector of universities and publishers to the broadly informal ones organized by faculty, copy shops, student unions, and students themselves. It looks at the history of policy battles over access to education in the post–World War II era and at the narrower versions that have played out in relation to research and textbooks, from library policies to book subsidies to, more recently, the several “open” publication models that have emerged in the higher education sector.
From the bottom up, Shadow Libraries explores how, simply, students get the materials they need. It maps the ubiquitous practice of photocopying and what are—in many cases—the more marginal ones of buying books, visiting libraries, and downloading from unauthorized sources. It looks at the informal networks that emerge in many contexts to share materials, from face-to-face student networks to Facebook groups, and at the processes that lead to the consolidation of some of those efforts into more organized archives that circulate offline and sometimes online— the shadow libraries of the title. If Alexandra Elbakyan's Sci-Hub is the largest of these efforts to date, the more characteristic part of her story is the prologue: the personal struggle to participate in global scientific and educational communities, and the recourse to a wide array of ad hoc strategies and networks when formal, authorized means are lacking. If Elbakyan's story has struck a chord, it is in part because it brings this contradiction in the academic project into sharp relief—universalist in principle and unequal in practice. Shadow Libraries is a study of that tension in the digital era.
Contributors Balázs Bodó, Laura Czerniewicz, Miroslaw Filiciak, Mariana Fossatti, Jorge Gemetto, Eve Gray, Evelin Heidel, Joe Karaganis, Lawrence Liang, Pedro Mizukami, Jhessica Reia, Alek Tarkowski
In Broadcasters' Rights in the Digital Era, Sakthivel provides a cogent and insightful understanding of authors' right vis-à-vis broadcasters' right in the technologically advanced era especially in ...live streaming technology context.