Skip to main content
SAGE Knowledge
SAGE Knowledge
Books

Previous Chapter Chapter 7: Creativity and Intellectual Property Rights Next Chapter

Jason Toynbee

In: Cultural Expression, Creativity and Innovation

Chapter 7: Creativity and Intellectual Property Rights

Edited by: Helmut Anheier & Yudhishthir Raj Isar

DOI: http://dx.doi.org/10.4135/9781446251010.n8

Subject: Globalization, Sociology of Culture, Media Economics

  • Citations
  • Add to My List
  • Text Size

Citations

Toynbee, J. (2010). Creativity and intellectual property rights. In H. Anheier & Y. R. Isar (Eds.), The Cultures and Globalization Series 3: Cultural expression, creativity and innovation (pp. 86-98). London: SAGE Publications Ltd doi: 10.4135/9781446251010.n8

Toynbee, Jason. "Creativity and Intellectual Property Rights." In Cultural Expression, Creativity and Innovation, edited by Helmut Anheier and Yudhishthir R. Isar, 86-98, The Cultures and Globalization Series 3. London: SAGE Publications Ltd, 2010. doi: 10.4135/9781446251010.n8.

Toynbee, J 2010, 'Creativity and intellectual property rights', in Anheier, H & Isar, YR (eds), Cultural expression, creativity and innovation, The Cultures and Globalization Series 3, SAGE Publications Ltd, London, pp. 86-98, viewed 15 December 2019, doi: 10.4135/9781446251010.n8.

Toynbee, Jason. "Creativity and Intellectual Property Rights." Cultural Expression, Creativity and Innovation. Eds. Helmut Anheier and Yudhishthir R. Isar. London: SAGE Publications Ltd, 2010. 86-98. SAGE Knowledge. Web. The Cultures and Globalization Series 3. 15 Dec. 2019, doi: 10.4135/9781446251010.n8.

Copy to Clipboard

Have you created a personal profile? Login or create a profile so that you can create alerts and save clips, playlists, and searches.

Font Size

A Small A Normal A Large
Creativity and Intellectual Property Rights
Creativity and intellectual property rights
JasonToynbee

Copyright, the main form of intellectual property in cultural production, has played a key part in globalization. Although it is presented as an unalloyed good by its powerful defenders in corporations and states, this chapter argues to the contrary that copyright is of dubious value. In fact the expansive copyright regime which characterizes the present era threatens vulnerable cultures – both traditional and hybrid – around the world. The argument is made by refuting the conventional rationales for copyright, both economic and aesthetic. Supporting evidence is then drawn from the cases of music making in Jamaica, and the Bollywood film industry in India. Each, in a perhaps surprising parallel, suggests that creative cultures can flourish in, ...

Looks like you do not have access to this content.

Login

Don’t know how to login?

Click here for free trial login.

Back to Top

Copy and paste the following HTML into your website