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Exceptions to Copyright in Russia and the “Fair Use” Doctrine European Audiovisual Observatory, Strasbourg, 2016
IRIS Extra Exceptions to copyright in Russia and the “fair use” doctrine European Audiovisual Observatory, Strasbourg, 2016 Director of publication - Susanne Nikoltchev, Executive Director Editorial supervision - Maja Cappello, Head of the Department for Legal Information Editorial team - Francisco Javier Cabrera Blázquez, Sophie Valais European Audiovisual Observatory Author Margarita Sobol, Researcher at the Lomonosov Moscow State University Translation / Proofreading Aurélie Courtinat, Gianna Iacino, Julie Mamou, Erwin Rohwer, Lucy Turner Editorial assistant - Snezana Jacevski Marketing - Markus Booms, [email protected] Press and Public Relations - Alison Hindhaugh, [email protected] European Audiovisual Observatory Publisher European Audiovisual Observatory 76, allée de la Robertsau, 67000 Strasbourg, France Tel. : +33 (0)3 90 21 60 00 Fax : +33 (0)3 90 21 60 19 [email protected] www.obs.coe.int Cover layout - P O I N T I L L É S, Hoenheim, France Please quote this publication as Sobol M., Exceptions to copyright in Russia and the “fair use” doctrine, IRIS Extra, European Audiovisual Observatory, Strasbourg, 2016 © European Audiovisual Observatory (Council of Europe), Strasbourg, 2016 Opinions expressed in this publication are personal and do not necessarily represent the views of the Observatory, its members or the Council of Europe. A publication of the European Audiovisual Observatory Exceptions to copyright in Russia and the “fair use” doctrine Margarita Sobol Lomonosov Moscow State University EXCEPTIONS TO COPYRIGHT IN RUSSIA AND THE “FAIR USE” DOCTRINE Foreword Anyone who wishes to comment on, criticise or make a parody of a copyrighted work may quote a portion of it without the author’s permission. This principle is grounded in the notion that without this freedom any author could prevent the expression of possible negative comments about his or her work, with a clear impact on freedom of expression and pluralism of information. -
Brownmark Vs Comedy Central PRESS RELEASE
PRESS RELEASE Brownmark Films, LLC Contact: Bobby Ciraldo, Andrew Swant FOR IMMEDIATE RELEASE Phone: 414-263-4180 E-Mail: [email protected] Attorney of Record: Caz McChrystal Phone: 715-346-4660 BROWNMARK FILMS VS. VIACOM, ET AL What What (In the Butt) Producers File Copyright Infringement Case Against South Park November 12th, 2010 - Milwaukee, WI -- Brownmark Films, the two-person production company behind the viral YouTube video What What (In the Butt), filed a copyright infringement lawsuit today against Viacom International Inc, Comedy Partners (known as Comedy Central), Paramount Pictures Corporation, MTV Networks, and South Park Digital Studios LLC. Brownmark Films claim that their music video, a comically innocuous portrayal of the song's salacious lyrics, was used in an episode of Comedy Central's South Park without permission. The episode, entitled "Canada on Strike" contains a shot-for-shot recreation of significant portions of the What What (In the Butt) video. The episode satirizes the 2007-2008 Writers Guild strike and illegally appropriated Brownmark Films' video in order to do so. While Brownmark Films was never contacted by Comedy Central for use of the video, it is believed that the song "What What (In the Butt)" was legally licensed through its respective copyright owner. Unlike most music videos, which are financed by the artist's record label to be used as a promotional tool for the recording, What What (In the Butt) was produced jointly by Brownmark Films and Samwell, then an unsigned musician with an unpublished song. While primarily intended as a comedic art piece, Brownmark Films created the video with hopes of licensing it for wider distribution. -
Tesis726.Pdf
i REGLAMENTO DE LA PONTIFICIA UNIVERSIDAD JAVERIANA ARTÍCULO 23 “La Universidad no se hace responsable por los conceptos emitidos por los alumnos en sus trabajos de grado, solo velará porque no se publique nada contrario al dogma y la moral católicos y porque el trabajo no contenga ataques y polémicas puramente personales, antes bien, se vean en ellas el anhelo de buscar la verdad y la justicia”. ii Pontificia Universidad Javeriana Facultad de comunicación y lenguaje Carrera de comunicación social Énfasis audiovisual Realidades paralelas Diseño de una miniserie para web 2.0 en narrativa paralela TRABAJO DE GRADO PARA OPTAR POR EL TÍTULO DE COMUNICADOR SOCIAL CON ÉNFASIS AUDIOVISUAL PRESENTADO POR: Rafael Andrés Becerra Saldaña DIRECTOR/ASESOR: Víctor Hugo Valencia Aristizábal BOGOTÁ, MAYO DE 2011 iii Esta página es dejada en blanco intencionalmente iv Agradecimientos – Dedicatoria considerado como parte de mi familia, también a Diana Rojas y a María Fernanda Granados, las adoró con todas mis fuerzas, a Pamela Morales por ser un amiga de verdad… No puedo dejar de pensar que mientras escribo este texto mi A pesar de varios malos ratos, la universidad me ha llenado de padre sufre los efectos de un cáncer desgarrador y una personas valiosas por las cuales se realiza este trabajo y a quienes quimioterapia llena de dolorosos efectos secundarios y que a espero siempre llevar en aquellos recuerdos que se almacenan en pesar de esto nunca ha dejado de trabajar para poder darnos a mi el corazón, muchas gracias Ricardo Suárez, Oneris Rico, Liliana hermana, mi madre y a mi todo lo que siempre hemos Avendaño, Sebastián Kowoll, Daniela Gómez, Daniela Vargas, necesitado, este trabajo te lo dedico a ti papá. -
Umberto Galimberti Ha Scritto
Il campo del “popolare”: definizioni e ri-definizioni di Claudio Bisoni Definizioni Da quando il concetto di “cultura popolare” emerge, verso la fine del Settecento, nei discorsi degli intellettuali intorno a ciò che noi oggi chiameremmo “cultura folk”, le definizioni di “popolare” susseguitesi nella storia sono state molte e hanno toccato ambiti eterogenei. La nozione di “cultura popolare” - assieme a termini connessi come “popolo”, “folla”, “massa”, “cultura di massa” ecc. - ha incontrato definizioni che non si sono limitate a essere numerose: sono anche state tutt’altro che innocenti o disinteressate. Nelle scienze politiche si tende a considerare - non a torto - la lotta intorno a ciò che è il popolo come uno dei tratti essenziali della politica stessa. Infatti - lo notava Stuard Hall - i modi in cui ci si appella al popolo come ragione giustificatrice dell’azione politica sono i più vari e includono anche Margaret Thatcher quando afferma che la “gente” non vuole il potere dei sindacati. È inutile soffermarsi sul fatto che la storia italiana recente è stata prodiga, in modo quasi insopportabile, di simili esempi. John Storey, in Cultural Theory and Popular Culture: an Introduction, si richiama a precedenti definizioni di Raimond Williams e a Stuard Hall per proporre una piccola lista di cosa si intende e si è inteso nel passato recente con i termini “popolare” e “cultura popolare”1. In primo luogo troviamo una definizione quantitativa: è popolare tutto ciò che “piace alla gente”, vale a dire, a più persone possibile. È senz’altro vero che si tratta di una definizione insoddisfacente: troppe cose e troppo diverse tra loro piacciono a molta gente. -
Pro Gradu Paronen
APPRAISAL IN ONLINE REVIEWS OF SOUTH PARK: A study of engagement resources used in online reviews. Master's thesis Tiina Paronen University of Jyväskylä Department of languages English August 2011 JYVÄSKYLÄN YLIOPISTO Tiedekunta – Faculty Laitos – Department Humanistinen tiedekunta Kielten laitos Tekijä – Author Tiina Paronen Työn nimi – Title APPRAISAL IN ONLINE REVIEWS OF SOUTH PARK: A study of engagement resources used in online reviews. Oppiaine – Subject Työn laji – Level englanti Pro gradu -tutkielma Aika – Month and year Sivumäärä – Number of pages elokuu 2011 76 Tiivistelmä – Abstract Tutkielman tarkoituksena on selvittää, millaisin kielellisin keinoin kirjoittaja voi ilmaista mielipiteitään ja arvioitaan verkkoarvosteluissa. Tutkielma pyrkii kuvailemaan keinoja, joilla kirjoittaja huomioi lukijan pyrkiessään omiin tavoitteisiinsa. Tutkielman tarkoituksena on myös tarkastella verkkoarvosteluja genre-analyysin näkökulmasta. Teoreettisesti ja metodologisesti tutkimus nojaa Martinin ja Whiten kehittelemään arvioimisen analyysiin (appraisal analysis). Tutkimusaineisto koostuu neljästätoista televisioanimaation verkkoarvostelusta. Verkkoarvosteluja tarkastellaan laadullisesti. Tutkimuksen tulokset osoittavat kirjoittajan kiinnittävän paljon huomiota suhteeseen lukijan kanssa, mikä ilmenee kirjoittajan käyttämistä kielellisistä keinoista. Tutkimuksen perusteella lukijan ja kirjoittajan suhde on kirjoittajalle vähintään yhtä tärkeää kuin kirjoittajan omien mielipiteiden ilmaisu. Tutkimuksen tulokset osoittavat, että kirjailija luo itselleen -
Gruda Mpp Me Assis.Pdf
MATEUS PRANZETTI PAUL GRUDA O DISCURSO POLITICAMENTE INCORRETO E DO ESCRACHO EM SOUTH PARK ASSIS 2011 MATEUS PRANZETTI PAUL GRUDA O DISCURSO POLITICAMENTE INCORRETO E DO ESCRACHO EM SOUTH PARK Dissertação apresentada à Faculdade de Ciências e Letras de Assis – UNESP – Universidade Estadual Paulista para a obtenção do título de Mestre em Psicologia (Área de Conhecimento: Psicologia e Sociedade) Orientador: Prof. Dr. José Sterza Justo Trabalho financiado pela CAPES ASSIS 2011 Dados Internacionais de Catalogação na Publicação (CIP) Biblioteca da F.C.L. – Assis – UNESP Gruda, Mateus Pranzetti Paul G885d O discurso politicamente incorreto e do escracho em South Park / Mateus Pranzetti Paul Gruda. Assis, 2011 127 f. : il. Dissertação de Mestrado – Faculdade de Ciências e Letras de Assis – Universidade Estadual Paulista Orientador: Prof. Dr. José Sterza Justo. 1. Humor, sátira, etc. 2. Desenho animado. 3. Psicologia social. I. Título. CDD 158.2 741.58 MATEUS PRANZETTI PAUL GRUDA O DISCURSO POLITICAMENTE INCORRETO E DO ESCRACHO EM “SOUTH PARK” Dissertação apresentada à Faculdade de Ciências e Letras de Assis – UNESP – Universidade Estadual Paulista para a obtenção do título de Mestre em Psicologia (Área de Conhecimento: Psicologia e Sociedade) Data da aprovação: 16/06/2011 COMISSÃO EXAMINADORA Presidente: PROF. DR. JOSÉ STERZA JUSTO – UNESP/Assis Membros: PROF. DR. RAFAEL SIQUEIRA DE GUIMARÃES – UNICENTRO/ Irati PROF. DR. NELSON PEDRO DA SILVA – UNESP/Assis GRUDA, M. P. P. O discurso do humor politicamente incorreto e do escracho em South Park. -
South Park's Satan: Sympathetic
SOUTH PARK’S SATAN: SYMPATHETIC CHARACTER AND CRITICAL CULTURAL MIRROR by Joshua Casper A thesis proposal submitted to the faculty of The University of North Carolina at Charlotte in partial fulfillment of the requirements for the degree of Master of Arts in Religious Studies Charlotte 2020 Approved by: _________________________ Dr. Sean McCloud _________________________ Dr. Alexandra Kaloyanides _________________________ Dr. Eric Hoenes Del Pinal ii ©2020 Joshua Casper ALL RIGHTS RESERVED iii ABSTRACT JOSHUA CASPER. South Park Satan: Sympathetic Character and Critical Cultural Mirror. (Under the Direction of DR. SEAN MCCLOUD) In this thesis, I argue that Satan in South Park is portrayed as a sympathetic character who acts as both a role model of individuality and responsibility in a manner that supports what religious studies scholar David Feltmate refers to as the "unseen order" proffered by the show's creators. I will support this argument through three case studies that compares Satan to other prominent South Park characters: Jesus, Saddam Hussein, and Mr. Garrison. This thesis engages with several different fields of scholarly work, including religious studies, media studies, and popular culture studies. While this work is influenced by such scholarship, the main subject, South Park’s Satan, has not been the focus of any work on religion, media, and popular culture broadly, or scholarship on South Park specifically. In this manner, I hope to add to the existing literature on South Park and religion and popular culture studies. I will discuss Lisle Dalton, Eric Greene, Jane Iwamura, David Feltmate, and Scott Poole and show how they will help me set up the main arguments of my analysis. -
Generation Mixtape: a User's Guide to Online Copyright Matthew .D Catania
digitalcommons.nyls.edu Academic Centers and Programs Tribeca Square Press 2011 Generation Mixtape: A User's Guide to Online Copyright Matthew .D Catania Gaetano D. Marretta Follow this and additional works at: http://digitalcommons.nyls.edu/tribeca_square_press Part of the Intellectual Property Law Commons Recommended Citation Catania, Matthew D. and Marretta, Gaetano D., "Generation Mixtape: A User's Guide to Online Copyright" (2011). Tribeca Square Press. 5. http://digitalcommons.nyls.edu/tribeca_square_press/5 This Book is brought to you for free and open access by the Academic Centers and Programs at DigitalCommons@NYLS. It has been accepted for inclusion in Tribeca Square Press by an authorized administrator of DigitalCommons@NYLS. L EGAL BAC KG ROUND E R NO. 2 GENERATION MIXTAPE A User's Guide to Online Copyright Matthew D. Catania Gaetano G. Marretta P R OGRAM IN LAW & JOURNALISM AT NEW YORK LAW SCHOOL A TR!BECA SQUARE PRESS MONOGRAPH ABOUT LEGAL BACKGROUNDERS In conjunction with the Program in Law and Journalism at New York Law School, Tribeca Square Press publishes a monograph series, Legal Backgrounders, to provide those who regularly report on law and the legal profession, including print and broadcast reporters, edi LEGAL BACKGROUNDER NO. 2 torial writers, bloggers, and editors, with concise, objective, timely, and readable information on legal topics currently in the news. Mono graphs in this series are not intended to advocate legal or policy posi tions but to describe and summarize the state of the law. An electronic GENERATION version of each Legal Backgrounder, including links to sources, will be available on the Tribeca Square Press website shortly after publica tion of the print edition. -
1 United States District Court for The
UNITED STATES DISTRICT COURT FOR THE SOUTHERN DISTRICT OF NEW YORK ________________________________________ ) VIACOM INTERNATIONAL INC., ) COMEDY PARTNERS, ) COUNTRY MUSIC TELEVISION, INC., ) PARAMOUNT PICTURES ) Case No. 1:07-CV-02103-LLS CORPORATION, ) (Related Case No. 1:07-CV-03582-LLS) and BLACK ENTERTAINMENT ) TELEVISION LLC, ) DECLARATION OF WARREN ) SOLOW IN SUPPORT OF Plaintiffs, ) PLAINTIFFS’ MOTION FOR v. ) PARTIAL SUMMARY JUDGMENT ) YOUTUBE, INC., YOUTUBE, LLC, and ) GOOGLE INC., ) Defendants. ) ________________________________________ ) I, WARREN SOLOW, declare as follows: 1. I am the Vice President of Information and Knowledge Management at Viacom Inc. I have worked at Viacom Inc. since May 2000, when I was joined the company as Director of Litigation Support. I make this declaration in support of Viacom’s Motion for Partial Summary Judgment on Liability and Inapplicability of the Digital Millennium Copyright Act Safe Harbor Defense. I make this declaration on personal knowledge, except where otherwise noted herein. Ownership of Works in Suit 2. The named plaintiffs (“Viacom”) create and acquire exclusive rights in copyrighted audiovisual works, including motion pictures and television programming. 1 3. Viacom distributes programs and motion pictures through various outlets, including cable and satellite services, movie theaters, home entertainment products (such as DVDs and Blu-Ray discs) and digital platforms. 4. Viacom owns many of the world’s best known entertainment brands, including Paramount Pictures, MTV, BET, VH1, CMT, Nickelodeon, Comedy Central, and SpikeTV. 5. Viacom’s thousands of copyrighted works include the following famous movies: Braveheart, Gladiator, The Godfather, Forrest Gump, Raiders of the Lost Ark, Breakfast at Tiffany’s, Top Gun, Grease, Iron Man, and Star Trek. -
Sydney Program Guide
5/14/2021 prtten04.networkten.com.au:7778/pls/DWHPROD/Program_Reports.Dsp_SHAKE_Guide?psStartDate=30-May-21&psEndDate=05-… SYDNEY PROGRAM GUIDE Sunday 30th May 2021 06:00 am Totally Wild CC C Get inspired by all-access stories from the wild side of life! 06:30 am Top Wing (Rpt) G Beaver Dam Rescue / The Great Goat-CART Race Team Top Wing race to the rescue when a dam breaks. It's time for the big goat cart race, but when a Treegoat races off-road into the river, Team Top Wing have to rescue the goat and the race. 07:00 am Blaze And The Monster Machines (Rpt) G Race Car Superstar Blaze & AJ visit VelocityVille, a town full of race cars where everybody loves to go fast! When a snooty car named Speedrick traps all the other racers, Blaze must transform free his new friends. 07:30 am Paw Patrol (Rpt) G Pups Save A Blimp / Pups Save A Chili Cook-Out Cap'n Turbot's weather blimp is taken by Mayor Humdinger who plans ot use it to change the weather in Foggy Bottom. Mr. Porter's stove explodes right before the chilli cook-off. 07:56 am Shake Takes 08:00 am Paw Patrol (Rpt) G Pups Save A Teeny Penguin / Pups Save The Cat Show Everest and Jake try to rescue a little penguin and end up floating out to sea on a homemade bridge. It's Cat Show time and Katie's kittens are all covered in mud and running amuck! 08:30 am The Loud House (Rpt) G Lock 'n Loud / The Whole Picture After Dad gets upset with the kids for never locking the front door, the kids take home security to the next level. -
United States District Court Eastern District of Wisconsin
UNITED STATES DISTRICT COURT EASTERN DISTRICT OF WISCONSIN BROWNMARK FILMS LLC, Plaintiff, v. Case No. 10-CV-1013-JPS COMEDY PARTNERS, MTV NETWORKS, PARAMOUNT PICTURES CORPORATION, SOUTH PARK DIGITAL STUDIOS LLC, and ORDER GRANTING VIACOM INTERNATIONAL INC., ATTORNEY FEES Defendants. AND COSTS On July 6, 2011, this Court dismissed Brownmark Films’ suit with prejudice. (Docket #23). Brownmark has since appealed that decision. (Docket #26). However, the issue of attorney fees and costs still remains with this Court for decision. The parties have filed numerous documents on this issue. Aside from the standard issues of attorney fees and costs, the parties’ filings also raise several procedural issues. After recounting the case background, the Court must dispense with those procedural issues first. The Court will then turn to the issue of attorney fees and costs, ultimately granting the defendants’ motions for costs and fees. 1. Background Brownmark initiated this suit in November 2010, alleging willful copyright violation by the defendants. Brownmark sought: (1) statutory damages; (2) a declaration that the defendants willfully, both directly and secondarily, infringed upon Brownmark’s copyrights; (3) an injunction Case 2:10-cv-01013-JPS Filed 11/30/11 Page 1 of 19 Document 47 requiring the defendants to cease any direct or indirect infringement; and (4) further relief, including attorneys’ fees and pre- and post-judgment interest. (Docket #1). Rather than submit an answer, on February 22, 2011, defendants filed a motion to dismiss. (Docket #8). After Brownmark’s response and the defendants’ reply were filed, the Court granted the defendants’ motion. (Docket #16, #22, #23). -
Crash Bandicoot Mind Over Mutant Wii Guide
Crash bandicoot mind over mutant wii guide Continue Sierra Entertainment (later copies of Activision) Wii, Xbox 360, PlayStation 2, PlayStation Portable, Nintendo DS PS2, Wii, X360:NA: October 7, 2008AU: October 29, 2008EU: October 31, 2008PSP:NA: October 21, 2008AU: October 29, 2008EU: October 31, 2008DS:AU: October 29, 2008NA: October 29, 2008EU: October 31, 2008 Combat Platformer/Action-adventure ESRB: Everyone 10'PEGI: 7'OFLC: PG Single PlayerCo-op Multiplayer (2 Players) Crash Over Mutant Is a sequel to Crash of the Titans and the fifteenth part of the Crash Bandicoot series, although it is the seventh chronological. The story of the game focuses on the arrival of a popular technology device that puts its users under the control of the creators of the device and history antagonists Dr. Neo Cortex and Dr. Nitrus Brio. The accident and his magic mask friend Aku Aku are the only ones unaffected by the device, and must free his friends from his control and put an end to the plot of Dr. Cortex. Gameplay As a follow-up to crash of the Titans, Crash: Mind Over Mutant uses many of the same mechanics of this game, with some changes. The accident still has the ability to jack enemies (so-called mutants and sometimes titans) by defeating them in battle at close range and riding on their backs. It can also earn attack upgrades by collecting MOJO, but unlike previous ones, each kind of mutant Crash controls has its own unique MOJO counters and alignment system as well. An accident can equal a maximum of twenty times; mutants, only five.