• Summary
  • Contents
  • Subject index

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 media users, drawing on important studies into copyright from around the world.

Offering media students and scholars a comprehensive overview of the contemporary issues surrounding intellectual property through the struggle over copyright, Understanding Copyright explores why disagreement is rife and how the policymaking process might accommodate a wider range of views.

The Future of Copyright: How We Can Learn from the Debate
The future of copyright: How we can learn from the debate
Slight Return

At the start of this book, we argued that in order to understand copyright in the digital age, we must understand how copyright is communicated. To explore copyright as a structured disagreement where various discourses meet and clash, we concentrated on the perspectives of different groups — cultural industries, policymakers, creative workers, internet intermediaries, and media users — while recognizing the diversity within and overlap between them. We examined justifications in favour of strengthening copyright as well as challenges to the current copyright regime, attempts to produce international standards around copyright and cases that refuse such standardization.

In Chapter 2, we examined how copyright ...

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