Movie Remakes and Adaptations Can Land Movies in Copyright Lawsuits

Total Page：16

File Type：pdf, Size：1020Kb

Movie Remakes and Adaptations Can Land Movies in Copyright Lawsuits

Law Firm Newswire Attorney Press Releases and Legal News http://www.lawfirmnewswire.com Movie Remakes and Adaptations Can Land Movies in Copyright Lawsuits Los Angeles, CA (Law Firm Newswire) November 28, 2011 - Movie remakes and new interpretations happen all the time. But such popular topics should not detract from thoroughly researching copyrights, examining how a new work meets fair use laws, and seeking to enter into any appropriate licenses and/or contracts that are needed to ensure the production can continue on. Otherwise, a movie studio, director, and other relevant parties can be subject to litigation during filming, or even worse, after profits have started to come in. In the current case of Effie Film LLC v Gregory Murphy, Effie Film wanted to ensure that Emma Thompson’s script did not infringe on Murphy’s play, “The Countess,” about the love scandal between art critic John Ruskin, his wife Effie Gray, and the painter John Everett Millais in 19th century England. Effie Film sued Murphy to obtain a declaration that the script had no copyright issues. Then, Effie Film also sued Eve Pomerance, who has a screenplay, “The Secret Trials of Effie Gray.” Anthony Spotora “It is smart to be proactive before a film gets completed and preemptively seek a resolution,” said Los Angeles copyright attorney Anthony Spotora, who is also a Los Angeles entertainment attorney. “A film’s financing, distribution, and other key business transactions can rest on the validity of the film’s originality, which obviously includes its copyright and intellectual property assets.” Acquiring and clearing copyrights is a pivotal, initial step in the movie-making process. Whether you are an independent filmmaker or a big studio, getting qualified legal counsel is critical to the financial and broader success of the movie. Every filmmaker and studio must be aware of the fair use doctrine that essentially states that another person’s work can be used in a film if it is transformed into something new and shows a different purpose. Otherwise, a person or studio is liable to receive cease-and-desist letters, lawsuits, or other claims to seek a remedy to the situation. 1 / 2 Law Firm Newswire Attorney Press Releases and Legal News http://www.lawfirmnewswire.com “You do not want all of your hard work to go for nothing or to cost you dearly because you failed to perform the necessary research and/or secure adequate protection up front,” said Spotora. To learn more about the Los Angeles copyright lawyer or Los Angeles entertainment lawyer Anthony Spotora, visit http://www.spotoralaw.com/. Law Offices of Spotora & Associates, P.C. 1801 Century Park East, 24th Floor Los Angeles, California 90067-2302 Call: (310) 556.9641 function scro11me(f){f.contentWindow.scrollTo(0,0); } 2 / 2 Powered by TCPDF (www.tcpdf.org).

Copy Link

Recommended publications

A Field Awaits Its Next Audience
Victorian Paintings from London's Royal Academy: ” J* ml . ■ A Field Awaits Its Next Audience Peter Trippi Editor, Fine Art Connoisseur Figure l William Powell Frith (1819-1909), The Private View of the Royal Academy, 1881. 1883, oil on canvas, 40% x 77 inches (102.9 x 195.6 cm). Private collection -15- ALTHOUGH AMERICANS' REGARD FOR 19TH CENTURY European art has never been higher, we remain relatively unfamiliar with the artworks produced for the academies that once dominated the scene. This is due partly to the 20th century ascent of modernist artists, who naturally dis couraged study of the academic system they had rejected, and partly to American museums deciding to warehouse and sell off their academic holdings after 1930. In these more even-handed times, when seemingly everything is collectible, our understanding of the 19th century art world will never be complete if we do not look carefully at the academic works prized most highly by it. Our collective awareness is growing slowly, primarily through closer study of Paris, which, as capital of the late 19th century art world, was ruled not by Manet or Monet, but by J.-L. Gerome and A.-W. Bouguereau, among other Figure 2 Frederic Leighton (1830-1896) Study for And the Sea Gave Up the Dead Which Were in It: Male Figure. 1877-82, black and white chalk on brown paper, 12% x 8% inches (32.1 x 22 cm) Leighton House Museum, London Figure 3 Frederic Leighton (1830-1896) Elisha Raising the Son of the Shunamite Woman 1881, oil on canvas, 33 x 54 inches (83.8 x 137 cm) Leighton House Museum, London -16- J ! , /' i - / .
[Show full text]
Ophelia: a Psychological Portrait Xena Fitzgerald Class of 2017
Ophelia: A Psychological Portrait Xena Fitzgerald Class of 2017 The tragic image of Ophelia, a young representation in art contributed to a variety of popular noblewoman who drowns during the play Hamlet, interpretations of her character. has haunted Britain since Shakespeare wrote her into Ophelia as a character is frequently represented existence around the year 1600. Ophelia reached the as various forms of femininity. Art historian Kimberly peak of her popularity around the mid-nineteenth Rhodes explains that during the Victorian era Ophelia century. In the realm of painting, she was a popular represented a range of female typologies from the subject for Pre-Raphaelite painters who were concerned “dutiful daughter” to the “madwoman.”3 Because with tropes of Victorian femininity as well as with Ophelia has very few lines within the play and her most the psychology of their subjects. In this paper I will signifcant action, her death, does not even appear on consider how the artist Anna Lea Merritt (1844-1930), stage, Rhodes describes her as “a blank page on which who was infuenced by the Pre-Raphaelite movement, patriarchy can inscribe and project its desires.”4 Along leapt beyond popular tropes to visually portray Ophelia with other Shakespearean heroines, Ophelia was taken in her 1880 painting with emotional and psychological up as an exemplar for femininity.5 Moral guides such depth more successfully than her contemporaries (fg. 1). as Anna Jameson’s Characteristics of Women, Moral, Born in Pennsylvania, Merritt, like Mary Poetical, and Historical instructed women and girls to Cassatt, pursued an artistic career in Europe.
[Show full text]
The Anonymous Fairy Tale: Ruskin's King of the Golden River
Volume 14 Number 3 Article 8 Spring 3-15-1988 The Anonymous Fairy Tale: Ruskin's King of the Golden River Marjorie J. Burns Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Burns, Marjorie J. (1988) "The Anonymous Fairy Tale: Ruskin's King of the Golden River," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 14 : No. 3 , Article 8. Available at: https://dc.swosu.edu/mythlore/vol14/iss3/8 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Discusses Ruskin’s only fairy tale as a successful work, reflecting his interest in Northern landscapes. Notes female symbolism despite a lack of female characters. Recounts how Ruskin’s psychological problems made him ambivalent toward, and eventually mistrustful of, fantasy.
[Show full text]
Mariana De John Everett Millais
REVISTA CÍRCULO CROMÁTICO Notas de Historia del Arte y Pintura Mariana de John Everett William Shakespeare. En “Medida por medida” Shakespeare nos presenta a la Millais joven Mariana, cuya dote se pierde en un naufragio y provoca que su prometido se Celia Ramiro Chulvi1 niegue a casarse con ella. Abandonada por Universitat de València su amado Ángelo, se sume en la tristeza y la soledad, viviendo aislada en una pequeña casa granero. Si bien Mariana acaba obteniendo su final feliz en la historia de Shakespeare, a los prerrafaelitas les interesa mucho más el momento álgido de su dolor. Millais, en esta como en otras ocasiones, se inspira directamente en los versos del poeta Lord Tennyson. Este poeta escribe poesías a partir de obras anteriores como historias de Shakespeare o leyendas artúricas, dándole el ambiente lánguido característico del Prerrafaelismo. John Everett Millais, Mariana, 1851. She only said: “My life is dreary, Óleo sobre madera, 59.7 cm x 49.5 cm. Tate Britain Museum. He cometh not”, she said. She said: “I am aweary, aweary, 2 John Everett Millais, miembro I would that I were dead!”.4 fundador de la Hermandad Prerrafaelita,3 exhibía en 1851 esta obra cuya Tennyson nos ofrece una Mariana protagonista nace entre las páginas de triste, desesperanzada y nostálgica. Anhela 1 Graduada en Historia del Arte por la Universitat 3 Prettejohn, Elisabeth, The Art of the Pre- de València, España. Redactora en La Cámara del Raphaelites, Princeton University Press, Arte, web de Historia del Arte. Contacto: Princeton, 2000. [email protected] 4 Publicado en 1830 en Poems, Chiefly Lyrical.
[Show full text]
Pre-Raphaelite Brotherhood (PRB) Had Only Seven Members but Influenced Many Other Artists
1 • Of course, their patrons, largely the middle-class themselves form different groups and each member of the PRB appealed to different types of buyers but together they created a stronger brand. In fact, they differed from a boy band as they created works that were bought independently. As well as their overall PRB brand each created an individual brand (sub-cognitive branding) that convinced the buyer they were making a wise investment. • Millais could be trusted as he was a born artist, an honest Englishman and made an ARA in 1853 and later RA (and President just before he died). • Hunt could be trusted as an investment as he was serious, had religious convictions and worked hard at everything he did. • Rossetti was a typical unreliable Romantic image of the artist so buying one of his paintings was a wise investment as you were buying the work of a ‘real artist’. 2 • The Pre-Raphaelite Brotherhood (PRB) had only seven members but influenced many other artists. • Those most closely associated with the PRB were Ford Madox Brown (who was seven years older), Elizabeth Siddal (who died in 1862) and Walter Deverell (who died in 1854). • Edward Burne-Jones and William Morris were about five years younger. They met at Oxford and were influenced by Rossetti. I will discuss them more fully when I cover the Arts & Crafts Movement. • There were many other artists influenced by the PRB including, • John Brett, who was influenced by John Ruskin, • Arthur Hughes, a successful artist best known for April Love, • Henry Wallis, an artist who is best known for The Death of Chatterton (1856) and The Stonebreaker (1858), • William Dyce, who influenced the Pre-Raphaelites and whose Pegwell Bay is untypical but the most Pre-Raphaelite in style of his works.
[Show full text]
Movimiento Prerrafaelista
06/02/2007 1845 MOVIMIENTO PRERRAFAELISTA: ORÍGENES, DESARROLLO 1870 Y CONSECUENCIAS 1894 Sir John Everett Millais. John Ruskin. 1854 jamp'07 1 jamp'07 2 ALGUNAS OBRAS: Modern Painters (1843) Modern Painters II (1846) The Seven Lamps of Architecture (1849) Pre-Raphaelitism (1851) The Stones of Venice I (1851) The Stones of Venice II and III (1853) Architecture and Painting (1854) Modern Painters III (1856) The Harbours of England (1856) Political Economy of Art (1857) The Two Paths (1859) The Elements of Perspective (1859) Modern Painters IV (1860) RAFAEL (1483-1520): La Unto This Last (1862) Transfiguración 1518-20 jamp'07 3 jamp'07 4 The Pre-Raphaelite Brotherhood was created in 1848 by seven artists: Dante Gabriel Rossetti, William Michael Rossetti, James Collinson, John Everett Millais, Frederic George Stephens, Thomas Woolner and William Holman Hunt. Their goal was to develop a naturalistic style of art, throwing The Pre-Pre-RaphaeliteRaphaelite away the rules and conventions that were drilled into students' BrotherhoodBrotherhood:: heads at the Academies. Raphael was the artist they considered to have achieved the highest degree of perfection, PRB so muchthttdth so that students were encourage dtdfd to draw from his examples rather than from nature itself; thus they became the "Pre-Raphaelites". The movement itself did not last past the 1850s, but the style remained popular for decades, influencing the Arts and Crafts Movement, the Symbolist painters and the Art Nouveau jamp'07 5 jamp'07 6 1 06/02/2007 El planteamiento inicial de
[Show full text]
The Complexity of Love by Dr
This paper was presented at the Barbican Centre London on March 8th 2014, as part of the panel about the film ‘Effie Gray’. The original presentation included DVD clips from the film. The Complexity of Love by Dr. Judith Woodhead Strivings of the soul, that include innocence and betrayal are about the dynamics of relating with others. The film ‘Effie Gray’ opens with a twelve-year old girl telling of a fairy story of how a hard-working young man wrote the story for her, for his angel come down to earth. She narrates: ‘Once, a beautiful girl lived in a very cold house in Scotland. The house was cold because someone’s grandfather killed himself there. One day his grandson came and visited the house. He thought the beautiful girl was an angel come down to earth. The grandson worked very hard. He read and thought and drew and wrote. He wrote a fairy story just for her. She was twelve years old. Her mother and father were kind. But his were wicked. When she grew up he married her.’ The story, called 'The King of the Golden River’ was about the battle between good and evil - a popular story for generations of children to come. It is a symbol that prefigures the other story of the real life relationship within marriage. Both stories depict polar opposites: aesthetic ideals and human reality, goodness and badness, coldness and warmth, life and death, kindness and cruelty played out in the nightmare of the six years of their marriage. The film, as a third story, draws us excruciatingly into the imagined interiors of lives within the relationship that developed between the angel, Effie Gray and the grandson, John Ruskin.
[Show full text]
GENDER STUDIES 19(1)/2020 1 10.2478/Genst-2021-0001
GENDER STUDIES 19(1)/2020 10.2478/genst-2021-0001 SISTERS OF INSPIRATION. FROM SHAKESPEAREAN HEROINE TO PRE-RAPHAELITE MUSE DANA PERCEC West University of Timișoara [email protected] Abstract: The paper aims to make a connection between the female models of the Pre-Raphaelite Brotherhood and the portrayal of Shakespearean heroines, given that the 19th-century school of painting was using the Bard not only as a source of legitimation and authority, but also as a source of displacement, tackling apparently universal and literary subjects that were in fact disturbing for the Victorian sensibilities, such as love and eroticism, neurosis and madness, or suicide. As more recent scholarship has revealed, the women behind the Brotherhood, while posing as passive and contemplative, objects on display for the public gaze, had more agency and mobility than the average Victorian women. Keywords: Pre-Raphaelite brotherhood, female models, Victorian sensibilities, Shakespearean heroines, sisterhood. 1. Introduction The Pre-Raphaelite movement has received a lot of critical attention both in artistic terms and in terms of the literary sources of inspiration this school of painting used. The founders, Dante Gabriel Rossetti, John Everett Millais, and William Holman Hunt were members of the same generation of young imaginative artists, but even half a century after the first PRB exhibition in 1848, a late Pre-Raphaelite like John William Waterhouse had the same technical and aesthetic approach. Escapist and nostalgic, the Pre-Raphaelite painting favours medieval settings, Biblical or mythological themes, lavish costumes and vivid colours. Above all, it brings to the forefront the female subject: beautiful young women in a melancholy pose, enigmatic and inactive, statuesque and aloof.
[Show full text]
Pre-Raphaelites and the Book
Pre-Raphaelites and the Book February 17 – August 4, 2013 National Gallery of Art Pre-Raphaelites and the Book Many artists of the Pre-Raphaelite circle were deeply engaged with integrating word and image throughout their lives. John Everett Millais and Edward Burne-Jones were sought-after illustrators, while Dante Gabriel Rossetti devoted himself to poetry and the visual arts in equal measure. Intensely attuned to the visual and the liter- ary, William Morris became a highly regarded poet and, in the last decade of his life, founded the Kelmscott Press to print books “with the hope of producing some which would have a definite claim to beauty.” He designed all aspects of the books — from typefaces and ornamental elements to layouts, where he often incorporated wood- engraved illustrations contributed by Burne-Jones. The works on display here are drawn from the National Gallery of Art Library and from the Mark Samuels Lasner Collection, on loan to the University of Delaware Library. front cover: William Holman Hunt (1827 – 1910), proof print of illustration for “The Lady of Shalott” in Alfred Tennyson, Poems, London: Edward Moxon, 1857, wood engraving, Mark Samuels Lasner Collection, on loan to the University of Delaware Library (9) back cover: Dante Gabriel Rossetti (1828 – 1882), proof print of illustration for “The Palace of Art” in Alfred Tennyson, Poems, London: Edward Moxon, 1857, wood engraving, Mark Samuels Lasner Collection, on loan to the University of Delaware Library (10) inside front cover: John Everett Millais, proof print of illustration for “Irene” in Cornhill Magazine, 1862, wood engraving, Mark Samuels Lasner Collection, on loan to the University of Delaware Library (11) Origins of Pre-Raphaelitism 1 Carlo Lasinio (1759 – 1838), Pitture a Fresco del Campo Santo di Pisa, Florence: Presso Molini, Landi e Compagno, 1812, National Gallery of Art Library, A.W.
[Show full text]
2. Pre-Raphaelite Brotherhood
The paintings produced by the Pre-Raphaelite Brotherhood or PRB are today regarded as staid and irrelevant Victorian pictures. I will show that at the time there were controversial and even revolutionary. The brotherhood was founded in 1848, the year of revolutions across Europe. There was a very large Chartist meeting on 10th April in Kennington Common but luckily confrontation was avoided and the petition with six million signatures was handed in to Downing Street. House of Commons clerks estimated the true figure to be 1.9 million signatures and some joke signatures were publicized to undermine the credibility of the movement. John Everett Millais and Holman Hunt accompanied the crowd from Russell Square but at the Common they were careful to remain outside the rails. In September of that year they met in Millais’s parents house to form the Pre-Raphaelite Brotherhood. The term ‘brotherhood’ was later of concern to critics as it suggested anarchy and a revolution. 1 Top row, left to right: William Holman Hunt, John Everett Millais, (b. 1829 – d. 1896) John Everett Millais, William Holman Hunt, 1854, (1827-1910) William Holman Hunt, Dante Gabriel Rossetti, 1853, (1828-1882) Bottom row, left to right: Dante Gabriel Rossetti, Thomas Woolner, 1852 (1825-1892, sculptor and poet), National Portrait Gallery James Collinson, self-portrait, undated (1825-1881, only 1848-50, a devout Christian who resigned when Millais painted Christ in the House of His Parents) John Everett Millais, Frederic George Stephens (1828-1907, art critic) Dante Gabriel Rossetti, William Michael Rossetti (1829-1919, writer and art critic) Seven ‘Brothers’ • The three years 1849-1851 were an exceptional event in the history of art because rarely do you find a group of artists who set out to radically change the status quo and who take on the leading art establishment – the Royal Academy.
[Show full text]
Ruskin Unleashed: Towards a Revised Political Economy of Art Or Joy for Ever: How to Use Art to Change the World (And Its Price Beyond the Market)
Ruskin unleashed: towards a revised political economy of art or Joy for ever: How to use art to change the world (and its price beyond the market) Alistair Hudson Figure 1 The Whitworth, University of Manchester, with advertisements for its exhibition ‘Joy for ever: How to use art to change the world (and its price in the market)’ held from 29 March to 9 June 2019. Photo: author Joy for ever: How to use art to change the world (and its price in the market) was an exhibition held at the Whitworth, University of Manchester, from 29 March to 9 June 2019 (fig. 1). It was held to coincide with the 200th anniversary of the birth of John Ruskin, the British artist, writer, commentator and educationalist, who was the principal voice campaigning throughout the nineteenth century against the ills of an increasingly industrial and dehumanising world. The exhibition also marked the beginning of a new chapter in the history of the Whitworth in a post-Postindustrial era of ecological, political, financial and social crisis. The institution is now seeking to evolve as a museum that is relevant Journal of Art Historiography Number 22 June 2020 Alistair Hudson Ruskin unleashed … or … How to use art to change the world and useful in our context and one that takes an active role in society, promoting art as a tool for social change. With this goal in mind, our aim is to reconnect with our founders’ intentions, to create an institute, art gallery and park that can help realise the full potential of the city and its residents.
[Show full text]
'The Sancity of Womanhood': John Ruskin and the Medieval Madonna
Columbus State University CSU ePress Theses and Dissertations Student Publications 2015 'The Sancity Of Womanhood': John Ruskin And The Medieval Madonna Katherine M. Hinzman Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the History Commons Recommended Citation Hinzman, Katherine M., "'The Sancity Of Womanhood': John Ruskin And The Medieval Madonna" (2015). Theses and Dissertations. 181. https://csuepress.columbusstate.edu/theses_dissertations/181 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. COLUMBUS STATE UNIVERSITY 'THE SANCTITY OF WOMANHOOD': JOHN RUSKIN AND THE MEDIEVAL MADONNA A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF REQUIREMENTS OF THE CSU HONORS PROGRAM FOR HONORS IN THE DEGREE OF BACHELOR OF ARTS DEPARTMENT OF ART DEPARTMENT OF HISTORY AND GEOGRAPHY BY KATHERINE M. HINZMAN COLUMBUS, GEORGIA 2015 nas Copyright © 2015 Katherine M. Hinzman All Rights Reserved. lumwuHWuimujuiiuimiuinnjiwuiuniiiiini Hanaro BBS 'The Sanctity of Womanhood': John Ruskin and the Medieval Madonna by {Catherine Margaret Hinzman A Thesis Submitted in Partial Fulfilment of Requirements of the CSU Honors Program for Honors in the degree of Bachelor of Arts in Art History and History College of Arts College of Letters and Sciences Columbus State University Thesis Advisor: Date: Y/ao/fr>/J* Dr. ClaireMcCoy Xdt&gSL-/^ p&MyQJ^\ _ Date: y/~2~o/-g>( f Dr. Barlfefa Johnston Committee Member: r 1,-J/hs^ Date: ^ - Zo~( 5~~ Professor Michele McCrillis s Honors Committee Member Date 3-d&rij24>ir Dr.
[Show full text]