Viacom V. Youtube: a Proving Ground for DMCA Safe Harbors Against Secondary Liability
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Circular 1 Copyright Basics
CIRCULAR 1 Copyright Basics Copyright is a form of protection Copyright is a form of protection provided by the laws of the provided by U.S. law to authors of United States to the authors of “original works of authorship” that are fixed in a tangible form of expression. An original “original works of authorship” from work of authorship is a work that is independently created by the time the works are created in a a human author and possesses at least some minimal degree of creativity. A work is “fixed” when it is captured (either fixed form. This circular provides an by or under the authority of an author) in a sufficiently overview of basic facts about copyright permanent medium such that the work can be perceived, and copyright registration with the reproduced, or communicated for more than a short time. Copyright protection in the United States exists automatically U.S. Copyright Office. It covers from the moment the original work of authorship is fixed.1 • Works eligible for protection • Rights of copyright owners What Works Are Protected? • Who can claim copyright • Duration of copyright Examples of copyrightable works include • Literary works • Musical works, including any accompanying words • Dramatic works, including any accompanying music • Pantomimes and choreographic works • Pictorial, graphic, and sculptural works • Motion pictures and other audiovisual works • Sound recordings, which are works that result from the fixation of a series of musical, spoken, or other sounds • Architectural works These categories should be viewed broadly for the purpose of registering your work. For example, computer programs and certain “compilations” can be registered as “literary works”; maps and technical drawings can be registered as “pictorial, graphic, and sculptural works.” w copyright.gov note: Before 1978, federal copyright was generally secured by publishing a work with an appro- priate copyright notice. -
The Constitutional Law of Intellectual Property After Eldred V. Ashcroft
The Constitutional Law of Intellectual Property After Eldred v. Ashcroft By Pamela Samuelson* I. Introduction The past decade has witnessed an extraordinary blossoming of scholarship on the constitutional law of intellectual property,1 much of which focuses on copyright law.2 Had the Supreme Court ruled in favor of Eldred’s challenge to the constitutionality of the Copyright Term Extension Act,3 this body of scholarship would have undoubtedly proliferated with alacrity. Many scholars would have been eager to offer interpretations of implications of an Eldred-favorable decision for other intellectual property disputes.4 Given the Ashcroft-favorable outcome, some may expect the Eldred decision to “deconstitutionalize” intellectual property law and reduce to a trickle further scholarly * Chancellor’s Professor of Law and Information Management, University of California at Berkeley. Research support for this article was provided by NSF Grant No. SES 9979852. I wish to thank Eddan Katz for his exceptional research assistance with this article. 1 See, e.g., Dan L. Burk, Patenting Speech, 79 Tex. L. Rev. 99 (2000); Paul J. Heald and Suzanna Sherry, Implied Limits on the Legislative Power: The Intellectual Property Clause as an Absolute Constraint on Congress, 2000 U. Ill. L. Rev. 1119 (2000); Robert Patrick Merges and Glenn Harlan Reynolds, The Proper Scope of the Copyright and Patent Power, 37 J. Legis. 45 (2000); Mark A. Lemley, The Constitutionalization of Technology Law, 15 Berkeley Tech. L.J. 529 (2000); Malla Pollack, Unconstitutional Incontestability? The Intersection Of The Intellectual Property And Commerce Clauses Of The Constitution: Beyond A Critique Of Shakespeare Co. v. -
Social Network
DEADLINE.com FROM THE BLACK WE HEAR-- MARK (V.O.) Did you know there are more people with genius IQ’s living in China than there are people of any kind living in the United States? ERICA (V.O.) That can’t possibly be true. MARK (V.O.) It is. ERICA (V.O.) What would account for that? MARK (V.O.) Well, first, an awful lot of people live in China. But here’s my question: FADE IN: INT. CAMPUS BAR - NIGHT MARK ZUCKERBERG is a sweet looking 19 year old whose lack of any physically intimidating attributes masks a very complicated and dangerous anger. He has trouble making eye contact and sometimes it’s hard to tell if he’s talking to you or to himself. ERICA, also 19, is Mark’s date. She has a girl-next-door face that makes her easy to fall for. At this point in the conversation she already knows that she’d rather not be there and her politeness is about to be tested. The scene is stark and simple. MARK How do you distinguish yourself in a population of people who all got 1600 on theirDEADLINE.com SAT’s? ERICA I didn’t know they take SAT’s in China. MARK They don’t. I wasn’t talking about China anymore, I was talking about me. ERICA You got 1600? MARK Yes. I could sing in an a Capella group, but I can’t sing. 2. ERICA Does that mean you actually got nothing wrong? MARK I can row crew or invent a 25 dollar PC. -
Case Study Master
! 1 Fundamentals of Screenwriting: Assessment Two Analyse EITHER a film OR a screenplay of your choice, referring in detail to one or more of the models and/ or theories of narrative structure that you have encountered on this module. --------------------------- The Social Network in an adapted screenplay based on the book ‘The Accidental Billionaires’ By Ben Mezrich. The screenplay was written by Aaron Sorkin and tells the story of the social networking site, Facebook, and its founder Mark Zuckerberg, from the inception of the idea to Zuckerberg’s establishment as one of the youngest billionaires in recent history. It also details the other people said to be involved in Facebook’s creation including Eduardo Saverin, Zuckerberg’s best friend, and the Winklevoss twins, who claim that Zuckerberg stole the idea of Facebook from them. The Social Network is both an adaptation of book ‘The Accidental Billionaires’, by Ben Mezich, and a historical adaptation. Whilst Mezrich claims to have tried to accurately re-tell the events of the creation of Facebook, himself saying “I have tried to keep the chronology as close to exact as possible” (Mezrich, 2009), Sorkin appears to have written the screenplay for The Social Network under no such restriction, adhering more to the logic mentioned in unused dialogue of Lawrence of Arabia, “History isn’t made up of truth anyhow, so why worry”. (Chopra-Gant, 2008). This essay will analyse the screenplay of the Social Network, first through the lens of a number of classical film theories, before discussing the tendency of Sorkin’s screenplay to bend rules, particularly those of the modern screenwriting gurus. -
Alternative Perspectives of African American Culture and Representation in the Works of Ishmael Reed
ALTERNATIVE PERSPECTIVES OF AFRICAN AMERICAN CULTURE AND REPRESENTATION IN THE WORKS OF ISHMAEL REED A thesis submitted to the faculty of San Francisco State University In partial fulfillment of Zo\% The requirements for IMl The Degree Master of Arts In English: Literature by Jason Andrew Jackl San Francisco, California May 2018 Copyright by Jason Andrew Jackl 2018 CERTIFICATION OF APPROVAL I certify that I have read Alternative Perspectives o f African American Culture and Representation in the Works o f Ishmael Reed by Jason Andrew Jackl, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in English Literature at San Francisco State University. Geoffrey Grec/C Ph.D. Professor of English Sarita Cannon, Ph.D. Associate Professor of English ALTERNATIVE PERSPECTIVES OF AFRICAN AMERICAN CULTURE AND REPRESENTATION IN THE WORKS OF ISHMAEL REED Jason Andrew JackI San Francisco, California 2018 This thesis demonstrates the ways in which Ishmael Reed proposes incisive countemarratives to the hegemonic master narratives that perpetuate degrading misportrayals of Afro American culture in the historical record and mainstream news and entertainment media of the United States. Many critics and readers have responded reductively to Reed’s work by hastily dismissing his proposals, thereby disallowing thoughtful critical engagement with Reed’s views as put forth in his fiction and non fiction writing. The study that follows asserts that Reed’s corpus deserves more thoughtful critical and public recognition than it has received thus far. To that end, I argue that a critical re-exploration of his fiction and non-fiction writing would yield profound contributions to the ongoing national dialogue on race relations in America. -
Jab, Jab, Jab, Right Hook
DEDICATION TO MY TWO KIDS, MISHA AND XANDER. YOU HAVE BROUGHT A KNOCKOUT PUNCH OF LOVE TO MY LIFE THAT I DIDN’T KNOW EXISTED. AND TO THE WOMAN WHO BROUGHT THEM TO ME, THE LOVE OF MY LIFE, LIZZIE. CONTENTS Dedication Acknowledgments Author’s Note Introduction: Weigh-In Round 1: The Setup Round 2: The Characteristics of Great Content and Compelling Stories Round 3: Storytell on Facebook Round 4: Listen Well on Twitter Round 5: Glam It Up on Pinterest Round 6: Create Art on Instagram Round 7: Get Animated on Tumblr Round 8: Opportunities in Emerging Networks Round 9: Effort Round 10: All Companies Are Media Companies Round 11: Conclusion Round 12: Knockout Notes About the Author Also by Gary Vaynerchuk Credits Copyright About the Publisher ACKNOWLEDGMENTS I have so many people to thank I could never fit all their names into a tweet, so I decided to put them in an acknowledgments page. First and foremost, I want to thank my family, whom I love very much and who always help me, support me, and drive me. They really are the guiding light to my life. I also want to thank Stephanie Land, who is my true partner in writing these books. This is the third book we’ve written together. Steph—thank you so much. I truly, truly could never write a book without you. Huge shout-out to my boy Nathan Scherotter, who is the CEO of this book. Nate has been an amazing friend and business associate for many years. His help in guiding this book’s content and then its sales afterward was immensely important. -
Las Revoluciones De Facebook
CIBERESPACIO Las revoluciones de Facebook POR JAIME YÉPEZ Las rebeliones populares, juveniles y democráticas que están tenien - da a la gente a organizarse, rompiendo do lugar en estos días en los países árabes tienen como causa pro - las jerarquías y monopolios (http://tin - yurl.com/644r2rm). funda el desempleo, el aumento del costo de la vida, la falta de Otro autor, David Weinberger , da libertades civiles y de respeto a los derechos humanos, y la aspi - la vuelta al dicho de Andy Warhol de ración de sus pueblos por derrotar a regímenes autoritarios y clep - que cada persona tiene sus 15 minutos de fama, para afirmar que cada perso - tócratas de diversa índole (repúblicas, monarquías, “democracias na es famosa para 15 personas. populares y socialistas”, etc.). Incluso un autor antiglobalización, Si bien esos son los factores desencadenantes, un instrumento Jorge Majfud , hace una contorsión intelectual para decir, al mismo tiem - común en todos estos casos ha sido la presencia de las nuevas tec - po, que los nuevos medios no consti - nologías de información y comunicación (TIC), y, en particular, tuyen un factor central en las revuel - las redes sociales (Facebook, Twitter, YouTube, mensajes de tex - tas árabes, pero que posiblemente algu - na agencia de inteligencia este utili - to telefónicos, etc.). Ya sucedió algo así con las manifestaciones zándolos. escribe en la Agencia Lati - contra las FARC. Pero Facebook es mucho más. He aquí la his - noamericana de Información (ALAI) toria real de este fenómeno contemporáneo que ya tiene 600 millo - que “Los actuales levantamientos en el mundo árabe no son siquiera revolu - nes de usuarios. -
Hammer Langdon Cv18.Pdf
LANGDON HAMMER Department of English [email protected] Yale University jamesmerrillweb.com New Haven CT 06520-8302 yale.edu bio page USA EDUCATION Ph.D., English Language and Literature, Yale University B.A., English Major, summa cum laude, Yale University ACADEMIC APPOINTMENT Niel Gray, Jr., Professor of English and American Studies, Yale University Appointments in the English Department at Yale: Lecturer Convertible, 1987; Assistant Professor, 1989; Associate Professor with tenure, 1996; Professor, 2001; Department Chair, 2005-fall 2008, Acting Department Chair, fall 2011 and fall 2013, Department Chair, 2014-17 and 2017-19 PUBLICATIONS Books In progress: Elizabeth Bishop: Life & Works, A Critical Biography (under contract to Farrar Straus Giroux) The Oxford History of Poetry in English (Oxford UP), 18 volumes, Patrick Cheney general editor; LH coordinating editor for Volumes 10-12 on American Poetry, and editor for Volume 12 The Oxford History of American Poetry Since 1939 The Selected Letters of James Merrill, edited by LH, J. D. McClatchy, and Stephen Yenser (under contract to Alfred A. Knopf) Published: James Merrill: Poems, Everyman’s Library Pocket Poets, selected and edited with a foreword by LH (Penguin RandomHouse, 2017), 256 pp James Merrill: Life and Art (Alfred A. Knopf, 2015), 944 pp, 32 pp images, and jamesmerrillweb.com, a website companion with more images, bibliography, documents, linked reviews, and blog Winner, Lambda Literary Award for Gay Memoir/Biography, 2016. Finalist for the Poetry 2 Foundation’s Pegasus Award for Poetry Criticism, 2015. Named a Times Literary Supplement “Book of the Year, 2015” (two nominations, November 25). New York Times, “Top Books of 2015” (December 11). -
ONLINE COMMUNITIES, ECHO CHAMBERS and the ANTI-VACCINE MOVEMENT | David R Poiner/ Curtin University
Social Media, Communities and Networks Conference paper Online communities, echo chamber and the anti-vaccine movement David Poiner Curtin university [email protected] Keywords Social media, Facebook, Instagram, Pintrest, Twitter, Anti-Vaccine, Anti-Vax, Echo Chambers, Confirmation bias, Elective exposure theory, Bias assimilation, Targeted advertising, Online freedom, World Health Organisation, WHO Abstract In the first few months of 2019 a large amount of attention has been drawn to the roles that social media giants like Facebook, Instagram, Pintrest and Youtube are playing in the spread of misinformation. This attention has primarily been focused around the spread of anti-vaccine propaganda as a global resurgence of diseases have been observed by the World Health Organisation. These giants have created this problem through the use of targeted advertising, bolstering confirmation bias, aiding the creation of echo chambers and using their platforms to hijack the neural chemistry of its users. This paper will endeavour to show the real-world negative consequences that come hand-in-hand with giving people freedom of association online. Introduction The technology boom of the 21st century has brought with it the overconsumption of social media platforms, like Facebook, that lead to the creation of online communities. These communities allow communication and instantaneous information sharing. Albeit, factual or not. Platforms like Facebook give users the freedom to connect with likeminded peers and facilitate the forging of strong relationships. Often with complete strangers and based entirely on personal interests, hobbies, ideologies and beliefs. There are, however, potential consequences that come with this freedom. Facebook allows users to create closed communities’ and groups which have the potential ONLINE COMMUNITIES, ECHO CHAMBERS AND THE ANTI-VACCINE MOVEMENT | David R Poiner/ Curtin University to aid in the creation of online echo chambers. -
2016-2017 Report
The Society of Fellows in the Humanities Annual Report 2016–2017 Society of Fellows Mail Code 5700 Columbia University 2960 Broadway New York, NY 10027 Phone: (212) 854-8443 Fax: (212) 662-7289 [email protected] www.societyoffellows.columbia.edu By FedEx or UPS: Society of Fellows 74 Morningside Drive Heyman Center, First Floor East Campus Residential Center Columbia University New York, NY 10027 Posters courtesy of designers Amelia Saul and Sean Boggs 2 Contents Report From The Chair 5 Special Events 31 Members of the 2016–2017 Governing Board 8 Heyman Center Events 35 • Event Highlights 36 Forty-Second Annual Fellowship Competition 9 • Public Humanities Initiative 47 Fellows in Residence 2016–2017 11 • Heyman Center Series and Workshops 50 • Benjamin Breen 12 Nietzsche 13/13 Seminar 50 • Christopher M. Florio 13 New Books in the Arts & Sciences 50 • David Gutkin 14 New Books in the Society of Fellows 54 • Heidi Hausse 15 The Program in World Philology 56 • Arden Hegele 16 • Full List of Heyman Center Events • Whitney Laemmli 17 2016–2017 57 • Max Mishler 18 • María González Pendás 19 Heyman Center Fellows 2016–2017 65 • Carmel Raz 20 Alumni Fellows News 71 Thursday Lectures Series 21 Alumni Fellows Directory 74 • Fall 2016: Fellows’ Talks 23 • Spring 2017: Shock and Reverberation 26 2016–2017 Fellows at the annual year-end Spring gathering (from left): María González Pendás (2016–2019), Arden Hegele (2016–2019), David Gutkin (2015–2017), Whitney Laemmli (2016–2019), Christopher Florio (2016–2019) Heidi Hausse (2016–2018), Max Mishler (2016–2017), and Carmel Raz (2015–2018). -
You(Tube), Me, and Content ID: Paving the Way for Compulsory Synchronization Licensing on User-Generated Content Platforms Nicholas Thomas Delisa
Brooklyn Law Review Volume 81 | Issue 3 Article 8 2016 You(Tube), Me, and Content ID: Paving the Way for Compulsory Synchronization Licensing on User-Generated Content Platforms Nicholas Thomas DeLisa Follow this and additional works at: https://brooklynworks.brooklaw.edu/blr Part of the Intellectual Property Law Commons, and the Internet Law Commons Recommended Citation Nicholas T. DeLisa, You(Tube), Me, and Content ID: Paving the Way for Compulsory Synchronization Licensing on User-Generated Content Platforms, 81 Brook. L. Rev. (2016). Available at: https://brooklynworks.brooklaw.edu/blr/vol81/iss3/8 This Note is brought to you for free and open access by the Law Journals at BrooklynWorks. It has been accepted for inclusion in Brooklyn Law Review by an authorized editor of BrooklynWorks. You(Tube), Me, and Content ID PAVING THE WAY FOR COMPULSORY SYNCHRONIZATION LICENSING ON USER- GENERATED CONTENT PLATFORMS INTRODUCTION Ever wonder about how the law regulates your cousin’s wedding video posted on her YouTube account? Most consumers do not ponder questions such as “Who owns the content in my video?” or “What is a fair use?” or “Did I obtain the proper permission to use Bruno Mars’s latest single as the backing track to my video?” These are important questions of law that are answered each day on YouTube1 by a system called Content ID.2 Content ID identifies uses of audio and visual works uploaded to YouTube3 and allows rights holders to collect advertising revenue on that content through the YouTube Partner Program.4 It is easy to see why Content ID was implemented—300 hours of video are uploaded to YouTube per minute.5 Over six billion hours of video are watched each month on YouTube (almost an hour for every person on earth),6 and it is unquestionably the most popular streaming video site on the Internet.7 Because of the staggering amount of content 1 See A Guide to YouTube Removals,ELECTRONIC fRONTIER fOUND., https://www.eff.org/issues/intellectual-property/guide-to-youtube-removals [http://perma.cc/ BF4Y-PW6E] (last visited June 6, 2016). -
Gender and Technology in David Fincher's <I>The Social Network</I>
Cedarville University DigitalCommons@Cedarville Department of English, Literature, and Modern English Seminar Capstone Research Papers Languages 4-15-2013 A New Masculinity for a New Millennium: Gender and Technology in David Fincher’s The Social Network Danielle McDonald Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/ english_seminar_capstone Part of the English Language and Literature Commons, and the Film and Media Studies Commons Recommended Citation McDonald, Danielle, "A New Masculinity for a New Millennium: Gender and Technology in David Fincher’s The Social Network" (2013). English Seminar Capstone Research Papers. 15. http://digitalcommons.cedarville.edu/english_seminar_capstone/15 This Capstone Project is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in English Seminar Capstone Research Papers by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. A New Masculinity for a New Millenium: Gender and Technology in David Fincher’s The Social Network Dani McDonald Dr. Deardorff Senior Seminar 15 April 2013 McDonald 2 Though critics’ praise for David Fincher’s film, The Social Network, thundered across the media, ironically, it still could not drown out the informal feminist outcry taking place on social media platforms. Blogs sprang up across cyberspace as women virulently objected to the misogyny of the film supposedly capturing “the character of a generation.” Articles and reviews titled, “Is the Facebook Movie Sexist?”, “The Social Network: Where Women Never Have Ideas,” “The Homosocial Network,” and “The Social Network’s ‘Angry Nerd Misogyny,’” proliferated from popular social commentary sites such as Slate.com, Jezebel.com, Salon.com, and IFC.com.