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Oddly Placed Cooperative Burdens in the Online World Anjanette H
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Northwestern University Illinois, School of Law: Scholarly Commons Northwestern Journal of Technology and Intellectual Property Volume 11 | Issue 5 Article 4 2013 Intermediaries’ Precarious Balance Within Europe: Oddly Placed Cooperative Burdens in the Online World Anjanette H. Raymond Indiana University, Kelley School of Business Recommended Citation Anjanette H. Raymond, Intermediaries’ Precarious Balance Within Europe: Oddly Placed Cooperative Burdens in the Online World, 11 Nw. J. Tech. & Intell. Prop. 359 (2013). https://scholarlycommons.law.northwestern.edu/njtip/vol11/iss5/4 This Article is brought to you for free and open access by Northwestern Pritzker School of Law Scholarly Commons. It has been accepted for inclusion in Northwestern Journal of Technology and Intellectual Property by an authorized editor of Northwestern Pritzker School of Law Scholarly Commons. NORTHWESTERN J O U R N A L OF TECHNOLOGY AND INTELLECTUAL PROPERTY Intermediaries’ Precarious Balance Within Europe: Oddly Placed Cooperative Burdens in the Online World Anjanette H. Raymond April 2013 VOL. 11, NO. 5 © 2013 by Northwestern University School of Law Northwestern Journal of Technology and Intellectual Property Copyright 2013 by Northwestern University School of Law Volume 11, Number 5 (April 2013) Northwestern Journal of Technology and Intellectual Property Intermediaries’ Precarious Balance Within Europe: Oddly Placed Cooperative Burdens in the Online World By Anjanette H. Raymond* The Newzbin cases mark a clear shift in the responsibility that European based internet service providers must take in protecting intellectual property rights. Previously, that burden laid primarily with rights holders. Today, however, legislative bodies and courts in both the European Union and the United States have shifted the expectation of protections to a shared burden amongst internet service providers (ISPs) and rights holders. -
Fair Use FAQ for Students
Fair Use FAQ for Students What is copyright? How is it different from using proper attribution and avoiding plagiarism? Copyright is actually a limited bundle of rights that the government grants to authors of original works such as novels, plays, essays, and movies. For a limited time (currently the life of the author plus 70 years, in most cases), copyright gives the author control over who can copy, distribute, publicly perform or display, or create derivative works (such as sequels or translations) based on their work. The purpose of copyright is to encourage the creation and dissemination of new works for the benefit of the public. Copyright is therefore much broader than the norms against plagiarism. Plagiarism is the presentation of someone else’s work as one’s own; copyright infringement can take place even where the user is honest about the work’s true author. As long as you use proper attribution, plagiarism should not be a worry for you. Copyright is somewhat more complex: unless your use satisfies one of the exceptions or limitations described in the Copyright Act, you cannot use copyright protected material without permission. Fair use is one of the most important limitations to copyright. What is fair use? Fair use is a part of copyright law that allows certain uses of copyrighted works, such as making and distributing copies of protected material, without permission. It evolved over time as judges made case-by-case exceptions to copyright to accommodate uses that seemed legitimate and justifiable regardless of the copyright holder’s apparent rights. Typical early fair uses involved criticism, commentary, and uses in an educational or scholarly context. -
Videos in Motion
Università degli Studi di Napoli “L’Orientale” Dipartimento di Studi e Ricerche su Africa e Paesi Arabi Tesi di Dottorato di Ricerca in Africanistica, IX ciclo - Nuova Serie VIDEOS IN MOTION Processes of transnationalization in the southern Nigerian video industry: Networks, Discourses, Aesthetics Candidate: Alessandro Jedlowski Supervisor: Prof. Alessandro Triulzi (University of Naples “L’Orientale”) Co-supervisor: Prof. Jonathan Haynes (Long Island University – New York) Academic Year 2010/211 Università degli Studi di Napoli “L’Orientale” Dipartimento di Studi e Ricerche su Africa e Paesi Arabi Tesi di Dottorato di Ricerca in Africanistica, IX ciclo - Nuova Serie VIDEOS IN MOTION Processes of transnationalization in the southern Nigerian video industry: Networks, Discourses, Aesthetics Candidate: Alessandro Jedlowski Supervisor: Prof. Alessandro Triulzi (University of Naples “L’Orientale”) Co-supervisor: Prof. Jonathan Haynes (Long Island University – New York) Academic Year 2010/2011 2 TABLE OF CONTENTS P. 5 INTRODUCTION. Videos in motion P. 16 CHAPTER I. Defining the field of enquiry: History, concepts and questions P. 40 SECTION I. Beyond the video boom: Informal circulation, crisis of production and processes of transnationalization in the southern Nigerian video industry P. 45 CHAPTER II. Regulating mobility, reshaping accessibility: The production crisis and the piracy scapegoat. P. 67 CHAPTER III. From Nollywood to Nollyworld: Paths of formalization of the video industry’s economy and the emergence of a new wave in Nigerian cinema P. 87 SECTION II. The “Nollywoodization” of the Nigerian video industry: Discursive constructions, processes of commoditization and the industry’s transformations. P. 93 CHAPTER IV. When the Nigerian video industry became “Nollywood”: Naming and branding in the videos’ discursive mobility. -
Survey of Additional Ip and Technology Law Developments
SURVEY OF ADDITIONAL IP AND TECHNOLOGY LAW DEVELOPMENTS I. PATENT DEVELOPMENTS A. HELSINN HEALTHCARE S.A. V. TEVA PHARMS. USA, INC., 855 F.3 D 1356 (FED. CIR. 2017) The United States Court of Appeals for the Federal Circuit held (1) that the asserted claims of the patents-in-suit were subject to an invalidating contract for sale prior to the critical date, (2) that the Leahy-Smith America Invents Act (AIA) did not change the statutory meaning of “on-sale” of the on-sale bar provision of 35 U.S.C. § 102 of the Patent Act, and (3) that public disclosure of the existence of the sale of a patented item may suffice to invalidate a patent under the on-sale bar, even if “the details of the invention” are not “publicly disclosed in the terms of sale.”1 In 2011, Teva Pharmaceuticals USA, Inc. and Teva Pharmaceutical Industries, Ltd. (collectively, “Teva”) filed an Abbreviated New Drug Application (ANDA) seeking FDA approval to market a generic 0.25 mg palonosetron product. Teva’s ANDA filing included a Paragraph IV certification that the claims of the patents-in-suit were invalid and/or not infringed. Helsinn Healthcare S.A. (“Helsinn”) then brought suit under the Hatch-Waxman Act, 35 U.S.C. § 271(e)(2)(A), alleging infringement of the patents-in-suit by the ANDA filing. The four patents-in-suit are directed to intravenous formulations of palonosetron for reducing or reducing the likelihood of chemotherapy-induced nausea and vomiting (CINV), a serious side effect of chemotherapy treatment.2 At trial, Teva argued, inter alia, that the asserted claims were invalid under the on-sale bar provision of 35 U.S.C. -
The Conference Brochure
The Many Lives of Indian Cinema: 1913-2013 and beyond Centre for the Study of Developing Societies, Delhi 9-11 January 2014 1 Credits Concept: Ravi Vasudevan Production: Ishita Tiwary Operations: Ashish Mahajan Programme coordinator: Tanveer Kaur Infrastructure: Sachin Kumar, Vikas Chaurasia Consultant: Ravikant Audio-visual Production: Ritika Kaushik Print Design: Mrityunjay Chatterjee Cover Image: Mrityunjay Chatterjee Back Cover Image: Shahid Datawala, Sarai Archive Staff of the Centre for the Study of Developing Societies We gratefully acknowledge support from the following institutions: Indian Council for Social Science Research; Arts and Humanities Research Council; Research Councils UK; Goethe Institute, Delhi; Indian Council for Historical Research; Sage Publishing. Doordarshan have generously extended media partnership to the conference. Images in the brochure are selected from Sarai Archive collections. Sponsors Media Partner 2 The Idea Remembering legendary beginnings provides us the occasion to redefine and make contemporary the history we set out to honour. We need to complicate the idea of origins and `firsts’ because they highlight some dimensions of film culture and usage over others, and obscure the wider network of media technologies, cultural practices, and audiences which made cinema possible. In India, it is a matter of debate whether D.G. Phalke's Raja Harishchandra (1913), popularly referred to as the first Indian feature film, deserves that accolade. As Rosie Thomas has shown, earlier instances of the story film can be identified, includingAlibaba (Hiralal Sen, 1903), an Arabian Nights fantasy which would point to the presence of a different cultural universe from that provided by Phalke's Hindu mythological film. Such a revisionary history is critical to our research agenda. -
3¢EH 6Hy9 PERFORMANCE, DANCE & MUSIC
A AForum Forum on on Cultural Cultural Practices Practices g¤AckD' jc31cµ'31cµ'99IwhEIwhE g¦¦~hD'Q ¤D g¦FcdD' g¦´' The Lebanese Association for Plastic Arts '¢D#' c4#' Ashkal Alwan g¤.'/ c4#' HOME WORKS 5 g¦AckD' jc31c·' 9 IwhE A FORUM ON CULTURAL PRACTICES g¦&'/#' 6Hy9 j'HwF j'z6c¼ 61cE Exhibitions, Lectures, Panels, ¤Jw¦ ÌA#' ¥¦3¤E sz}E B1 Performance, Dance, Theatre, Music, j'1¤~E Film, Video, Publications 1cJ#' – c{¤F jHÍ( Beirut, April 21 – May 1, 2010 j'HwD'H j'z6cq·' D gE$¤E gJ1¤D' g,ÉD' Simultaneous translation will be available for g¦}FyD'H g¦(yD'H gJ{¦F%³' jcDc( all lectures and panel discussions in English, Arabic and French. cFc»K ¦nD g-¤hE )¤9wD' Attendance is open to all and free of charge. f¤E ¦n}hD' Registration required. www.ashkalalwan.org www.ashkalalwan.org £¤3¢EH }B1 6Hy9 PERFORMANCE, DANCE & MUSIC ....... 5 j'HwF PANELS .............................................. 13 j'y6cº LECTURES ...........................................17 ÎFcA j'y6cº ARTIST TALKS .....................................25 g¤A J1c|E ARTIST PROJECTS ...............................29 ¢Jw¤H ÊA#' FILM & VIDEO ..................................... 31 61cE EXHIBITIONS ...................................... 37 )HwFH 9 g41H WORKSHOP & COLLOQUIUM ............. 47 j'1¢|E PUBLICATIONS ...................................49 lq( Hy|E RESEARCH PROJECT ........................... 51 g¤*'0 Í3 BIOGRAPHIES .....................................53 £¤3¢EH }B1 6Hy9 PERFORMANCE, DANCE & MUSIC /yE Solo cDc: J'12%' Israel Galvàn g¦B/ B'1 6y9 Dance Performance; 45’; 2008 w¦3 c: J'12%' I¤h}E ² cFcAK #' ¡*Ç.#' Ð- g¦q·' ¤EÌD' g9c, ² w-#' §BwJ ¸ No one in the local flamenco community believed me when I told them that an artist Q Q Q of the caliber of Israel Galvàn would be performing for free, June 17 on the Audubon §h(%'H cF#' c¦E#' 'yJ{- ² Ц¦*ÌD' ЦCÏE#ÌD Z3'y*Q ¤dJ/H#'[ sz}E ¥9 c¦Fc»K cK 6y9 Terrace of the Hispanic Society of America. -
Legal Issues
LEGAL ISSUES Section Editors: Bruce Strauch (The Citadel) <[email protected]> Jack Montgomery (Western Kentucky University) <[email protected]> Legally Speaking — Librarians, Publishers, and Educators Help out During the Coronavirus Pandemic by Anthony Paganelli (Western Kentucky University) <[email protected]> s a light spring rain falls, I am Samaritans are contributing to aiding those es online or as they distributed printed currently writing this column in need and others are helping the best way copies to students without computers or Ain my home while my wife is that they possibly can. Internet access. Some librarians have conducting a Zoom meeting with her provided information via email, telephone, It was a very difficult situation. Natu- colleagues, and the children are doing video conferencing, websites, and through rally, humans want to be helpful, but when school work on their devices. I joked blogs. The University of Florida has you are told that you could do more harm with them that their new at home school is even created a Coronavirus Library Guide by reaching out and helping, it becomes called the “School of Constant Sorrow.” that has provided information for faculty frustrating and depressing when you can’t. Of course, I thought it was funny, but they regarding copyright as they transitioned However, we are all doing the best we can just rolled their eyes. Now it is called, the their course assignments online. This is a through the knowledge and experiences “Paganelli Learning Academy.” major way librarians are assisting teachers that each of us possess. For instance, and students. -
FAIR USE of COPYRIGHTED MATERIAL an Informative Guide
FAIR USE OF COPYRIGHTED MATERIAL An informative guide FAIR USE OF COPYRIGHTED MATERIAL An informative guide Prepared by the Salt Lake Community College General Counsel’s Office Q: What is "fair use"? A: Fair use is the right to use a copyrighted work under certain conditions without permission of the copyright owner. The doctrine helps prevent a rigid application of copyright law that would stifle the very creativity the law is designed to foster. It allows one to use and build upon prior works in a manner that does not unfairly deprive prior copyright owners of the right to control and benefit from their works. Together with other features of copyright law, fair use reconciles the copyright statute with the First Amendment. Q: What is the test for fair use? A: The fair use defense is now codified in Section 107 of the Copyright Act. It is a defense that is mounted when a challenge to fair use is made. There is no need to make or draft an argument for fair use absent the legal challenge to such use. The statute provides that fair use of a work “for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use, scholarship, or research)” is not an infringement of copyright. To determine whether a given use is fair use, the statute directs, one must consider the following four factors: 1. the purpose and character of the use, including whether the use is of a commercial nature or is for nonprofit educational purposes; 2. the nature of the copyrighted work; 3. -
Copyright and Educational Fair
Copyright Compliance Policy for Members of the Alliant International University Community Introduction It is the policy of Alliant International University (AIU) that all members of the University Community must comply with U.S. Copyright Law. To provide for a high- quality education for students of AIU, University faculty often find it useful to make available to their students copyrighted material. Faculty frequently find that an effective means to make such information available is to copy and distribute it to students. The Copyright Act of 1976, 17 U.S.C. § 1 et seq. provides for duplication of copyrighted materials by the copyright owner, with the permission of the copyright owner or when the copying is considered a “fair use” of the material. To encourage legitimate copying by the AIU faculty, staff and students within the scope of the Copyright Act and in furtherance of their educational, research, creative, and scholarly pursuits, AIU is publishing these general policy guidelines. The goal of this document is to provide faculty and staff with a general understanding of copyright law and the applicability of the fair use doctrine in teaching and research. Appropriate application of fair use in education is dependent on a fundamental knowledge of copyright law and educators can only make informed, good faith fair use judgments when they understand the concepts and principles behind the statutes. Copyright Basics A copyright is the set of exclusive legal rights authors or creators have over their works for a limited period of time. These rights include copying the works (including parts of the works), making derivative works, distributing the works and performing the works. -
The Copyleft Movement: Creative Commons Licensing
Centre for the Study of Communication and Culture Volume 26 (2007) No. 3 IN THIS ISSUE The Copyleft Movement: Creative Commons Licensing Sharee L. Broussard, MS APR Spring Hill College AQUARTERLY REVIEW OF COMMUNICATION RESEARCH ISSN: 0144-4646 Communication Research Trends Table of Contents Volume 26 (2007) Number 3 http://cscc.scu.edu The Copyleft Movement:Creative Commons Licensing Published four times a year by the Centre for the Study of Communication and Culture (CSCC), sponsored by the 1. Introduction . 3 California Province of the Society of Jesus. 2. Copyright . 3 Copyright 2007. ISSN 0144-4646 3. Protection Activity . 6 4. DRM . 7 Editor: William E. Biernatzki, S.J. 5. Copyleft . 7 Managing Editor: Paul A. Soukup, S.J. 6. Creative Commons . 8 Editorial assistant: Yocupitzia Oseguera 7. Internet Practices Encouraging Creative Commons . 11 Subscription: 8. Pros and Cons . 12 Annual subscription (Vol. 26) US$50 9. Discussion and Conclusion . 13 Payment by check, MasterCard, Visa or US$ preferred. Editor’s Afterword . 14 For payments by MasterCard or Visa, send full account number, expiration date, name on account, and signature. References . 15 Checks and/or International Money Orders (drawn on Book Reviews . 17 USA banks; for non-USA banks, add $10 for handling) should be made payable to Communication Research Journal Report . 37 Trends and sent to the managing editor Paul A. Soukup, S.J. Communication Department In Memoriam Santa Clara University Michael Traber . 41 500 El Camino Real James Halloran . 43 Santa Clara, CA 95053 USA Transfer by wire: Contact the managing editor. Add $10 for handling. Address all correspondence to the managing editor at the address shown above. -
PAUL TURANO [email protected]
PAUL TURANO [email protected], www.paulturano.com Education: M.F.A. MASSACHUSETTS COLLEGE OF ART, 1995 Filmmaking. Studied with Dan Eisenberg, Ericka Beckman, Mark Lapore, Saul Levine B.A. HAMPSHIRE COLLEGE, 1991 Film and Video Production, Critical Studies. Studied with Abraham Ravett, Joan Braderman, Abigail Child, Susan Douglas Academic Work Experience: ASSOCIATE PROFESSOR, DEPARTMENT OF VISUAL AND MEDIA ARTS EMERSON COLLEGE: SUMMER 2018 – PRESENT Teaching duties focused on the MFA program and across the undergraduate curriculum and include media production, graduate thesis work, capstone projects and mentoring. ASSISTANT PROFESSOR, DEPARTMENT OF VISUAL AND MEDIA ARTS EMERSON COLLEGE: SUMMER 2012 – SPRING 2018 Teaching duties focused on the MFA program and across the undergraduate curriculum and include media production, graduate thesis work, capstone projects and mentoring. ARTIST-IN-RESIDENCE, DEPARTMENT OF VISUAL AND MEDIA ARTS EMERSON COLLEGE: FALL 2007 – SPRING 2012 Teaching courses in intermediate sync sound narrative filmmaking, introductory 16mm filmmaking, and graduate level film and video production, MFA thesis chair and reader. VISITING FACULTY, ANNENBERG COMMUNICATIONS CENTER PINE MANOR COLLEGE: SPRING 2007 Course in digital movie making. ADJUNCT FACULTY IN COMPUTER ANIMATION ART INSTITUTE OF BOSTON: FALL 2004 Courses in digital animation with Flash, AfterEffects, and Final Cut Pro for individual projects. FULL TIME VISITING FILM FACULTY SCHOOL OF THE MUSEUM OF FINE ARTS: FALL 2000 – FALL 2005 Courses in advanced sync sound, intermediate 16mm film production and digital post-production, optical printing, Super 8 filmmaking, critical screening seminars; graduate MFA thesis and undergraduate advising; Acting Area Coordinator and Representative. FILM STUDIO MANAGER MASSACHUSETTS COLLEGE OF ART: SUMMER 1996 – SUMMER 2000 Roles included maintaining and teaching all aspects of film, animation, video, and computer equipment; organizing department screenings and visiting artists; managing student workers. -
Uncle Hugo's Science Fiction Bookstore Uncle Edgar's Mystery Bookstore 2864 Chicago Avenue, Minneapolis, MN 55407
Uncle Hugo's Science Fiction Bookstore Uncle Edgar's Mystery Bookstore 2864 Chicago Avenue, Minneapolis, MN 55407 Newsletter #99 September-November 2012 Hours: M-F 10 am to 8 pm Sat. 10 am to 6 pm Sun. Noon to 5 pm Uncle Hugo's 612-824-6347 Uncle Edgar's 612-824-9984 Fax 612-827-6394 E-mail: [email protected] Website: www.UncleHugo.com Used Book Sale Every year our supply (oversupply) of used books gets larger. We're having a used book sale to try to reduce our supply. All used books will be 20% off, whether you have a discount card or not. The sale includes used paperbacks, used hardcovers, used magazines, used gaming books, and bagged books. Because we have so many used audiobooks, we will be selling all used audiobooks at $5.00 each, whether cassette or CD. The sale runs from Friday, September 7, through Sunday, September 16. That gives you two weekends to take advantage of the sale. This sale will be for customers shopping in the store–it does not apply to mail orders. If you're thinking about bringing in lots of used books to sell to us during the sale, expect a longer than normal wait. Author Events (at Uncle Edgar's) Monday, August 27, 5-6pm: William Kent Krueger - Trickster's Point Author Events (at Uncle Hugo's) Tuesday, September 18, 5-6pm: Larry Correia - Monster Hunter Legion Saturday, November 3, 1-2pm: Lois McMaster Bujold - Captain Vorpatril's Alliance Holiday Schedule Monday, September 3: Closed Thursday, November 22: Closed How's Business? By Don Blyly Around August 1 a customer on the way out of the store thanked me for managing to keep the store open in spite of all the problems.