Understanding Copyright: Intellectual Property in the Digital Age
Publication Year: 2015
Digital technology has forever changed the way media is created, accessed, shared and regulated, raising serious questions about copyright for artists and fans, media companies and internet intermediaries, activists and governments. Taking a rounded view of the debates that have emerged over copyright in the digital age, this book: Looks across a broad range of industries including music, television and film to consider issues of media power and policy.; Features engaging examples that have taken centre stage in the copyright debate, including high profile legal cases against Napster and The Pirate Bay, anti-piracy campaigns, the Creative Commons movement, and public protests against the expansion of copyright enforcement.; Considers both the dominant voices, such as industry associations, and those who struggle to be heard, including ordinary ...
- Front Matter
- Back Matter
- Subject Index
- Chapter 1: Introduction: Understanding Copyright in the Digital Age
- Our Approach to Understanding Copyright
- How This Book Is Organized
- Chapter 2: A Brief History of Copyright: Where We Are and How We Got Here
- Why Look Back?
- Key Copyright Moments and Distinctions
- The Digital Disruption
- Contemporary Debates in the Wake of the Digital Moment
- Chapter 3: Copyright and the Creative Economy: How the Cultural Industries Exert Influence
- Understanding the ‘Cultural Industries’
- Managing Risk and Return in the Cultural Industries
- Protecting Profits Through Regulation
- Campaigning for Copyright
- Lobbying for Protection Despite Unconvincing Evidence
- Chapter 4: Technologies and Corporations in the Middle: How Internet Intermediaries Are Drawn into the Debate
- What Are Internet Intermediaries and Why Are They Important?
- The War Against Piracy and File-Sharing Sites
- The ‘Turn to Private Ordering’ and the Private Interests of Intermediaries
- Intermediaries and Other Important Values
- Chapter 5: Creative Workers and Copyright: How Current and Future Creators Benefit from Cultural Labour
- Who Are the Creators?
- Understanding and Rewarding Creative Work
- Assumptions Versus Reality
- Creator Views and Voices
- Chapter 6: Consumers, Criminals, Patrons, Pirates: How Users Connect to Copyright
- Locating Users
- Framing Users
- User Practices
- User Perspectives and Discourses
- Where's the Consultation?
- Chapter 7: Copyright Policy: How Policy Represents (or Fails to Represent) Different Groups
- Power and the Policymaking Process
- Copyright on the Rise
- Democratizing Copyright Policy?
- Chapter 8: The Future of Copyright: How We Can Learn from the Debate
- Slight Return
- Changing the Debate
SAGE was founded in 1965 by Sara Miller McCune to support the dissemination of usable knowledge by publishing innovative and high-quality research and teaching content. Today, we publish more than 750 journals, including those of more than 300 learned societies, more than 800 new books per year, and a growing range of library products including archives, data, case studies, reports, conference highlights, and video. SAGE remains majority-owned by our founder, and after Sara's lifetime will become owned by a charitable trust that secures our continued independence.
© Bethany Klein, Giles Moss and Lee Edwards 2015
First published 2015
Apart from any fair dealing for the purposes of research or private study, or criticism or review, as permitted under the Copyright, Designs and Patents Act, 1988, this publication may be reproduced, stored or transmitted in any form, or by any means, only with the prior permission in writing of the publishers, or in the case of reprographic reproduction, in accordance with the terms of licences issued by the Copyright Licensing Agency. Enquiries concerning reproduction outside those terms should be sent to the publishers.
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About the Authors
This book grew out of the Economic and Social Research Council-funded project Communicating Copyright: An Exploration of Copyright Discourses in the Digital Age; we thank Fiona Philip and David Lee for their contributions to that project and, accordingly, to the foundational ideas that we have drawn on in this book. Thanks to Kate Oakley for providing useful feedback on the manuscript. Other colleagues in the School of Media and Communication at the University of Leeds have supported our work in indirect ways, not least by providing a rich intellectual and research environment: the book has benefited from their interest in and engagement with our work.
Interactions with scholars working in related areas — through invited talks, workshops and conferences — have been enormously valuable in developing and challenging our ideas against the large body of work on intellectual property and copyright which has emerged within legal studies, sociology, media studies and beyond. We especially benefited from the following events, which helped us hone the scope, objectives, and arguments of the book: the 2013 symposium in Durham that brought together contributors to the SAGE Handbook on Intellectual Property; the 2013 CREATe conference on empirical methodology; invited talks in the School of Music at the University of Edinburgh and the Media Centre at the University of Sunderland; and the International Communication Association panels on which we presented aspects of this work.
We thank SAGE and Taylor & Francis for allowing us to use some material from articles published in Convergence, New Media and Society, and the International Journal of Cultural Policy in this book. We are grateful for SAGE Senior Commissioning Editor Mila Steele's enthusiasm for critical media issues and commitment to classic American diner breakfasts, the intersection of which resulted in a pivotal chat during the International Communication Association conference in Phoenix in 2012. Thanks also to the rest of the SAGE team for their support, and to the reviewers of the proposal and manuscript for their positive feedback and suggestions, especially Matthew David who provided helpful comments at both the beginning and end stages.
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