This site uses cookies to improve your experience. To help us insure we adhere to various privacy regulations, please select your country/region of residence. If you do not select a country, we will assume you are from the United States. Select your Cookie Settings or view our Privacy Policy and Terms of Use.
Cookie Settings
Cookies and similar technologies are used on this website for proper function of the website, for tracking performance analytics and for marketing purposes. We and some of our third-party providers may use cookie data for various purposes. Please review the cookie settings below and choose your preference.
Used for the proper function of the website
Used for monitoring website traffic and interactions
Cookie Settings
Cookies and similar technologies are used on this website for proper function of the website, for tracking performance analytics and for marketing purposes. We and some of our third-party providers may use cookie data for various purposes. Please review the cookie settings below and choose your preference.
Strictly Necessary: Used for the proper function of the website
Performance/Analytics: Used for monitoring website traffic and interactions
The tale of Nosferatu shows the sometimes-uneasy relationship between copyright protection and the making of derivativeworks. The movie had entered cinema oblivion. It risks being a hackneyed truism—the purpose of copyright law is to encourage the production of original creative works.
The case is New Line Cinema v. Cinema Secrets (2000). In 1999, Cinema Secrets licensed the right to sell a Michael Myers Halloween mask from the film’s copyright owner. This prompted a lawsuit by Don Post Studios, which asserted that the Cinema Secrets mask was a copy of its own mask. BMG (1988).
Miramax claims, among other things, that the preparation and sale of these derivativeworks constitutes copyright infringement because the contractual rights Tarantino reserved in his 1993 agreement with Miramax don’t cover NFTs. The breathless media reports soon followed.
Subtitles, which are derivativeworks of the original content, are protected by copyright; however, to universally access video content in cinemas and on television, subtitles, audio-descriptors and other accessibility aids are necessary.
The cross-media creative franchise (think "Wonder Woman", from comics to film), is the apotheosis of the commercial potential of derivativeworks within the copyright system. Here, there, and everywhere, the celluloid adaptation of previously created contents is so 21st century. Her art is so pure that it becomes invisible.
It is now absolutely clear that authors are now entitled to royalties for the commercial use of sound recordings, except when screened in cinema halls. One of the key features was recognition of the rights of authors of original literary, dramatic, artistic and musical work, used in derivativeworks.
We organize all of the trending information in your field so you don't have to. Join 9,000+ users and stay up to date on the latest articles your peers are reading.
You know about us, now we want to get to know you!
Let's personalize your content
Let's get even more personalized
We recognize your account from another site in our network, please click 'Send Email' below to continue with verifying your account and setting a password.
Let's personalize your content