But the book also uncovers a host of marginalized figures - from the South Asian dancer Mohammed Ismail, to the African American pantomimist Johnny Hudgins, to the African American blues singer Alberta Hunter, to the white burlesque dancer ...
Author: Anthea Kraut
Publisher: Oxford University Press
But the book also uncovers a host of marginalized figures - from the South Asian dancer Mohammed Ismail, to the African American pantomimist Johnny Hudgins, to the African American blues singer Alberta Hunter, to the white burlesque dancer Faith Dane - who were equally interested in positioning themselves as subjects rather than objects of property, as possessive individuals rather than exchangeable commodities. Choreographic copyright, the book argues, has been a site for the reinforcement of gendered white privilege as well as for challenges to it.
In theater and performance studies, for instance, Anthea Kraut's Choreographing Copyright considers “the raced and gendered politics of ownership in dance.”21 Kraut examines how copyright claims helped choreographers “position ...
Author: Derek Miller
Publisher: Cambridge University Press
Explores the development of nineteenth-century performance copyright laws which shape how we define and value drama and music.
Anthea Kraut, Choreographing Copyright: Race, Gender, and Intellectual Property Rights in American Dance (New York: Oxford University Press, 2016), xiv. Within the law, social dance, as well as steps in concert dance, are treated as ...
Author: Colleen T. Dunagan
Publisher: Oxford University Press
Dance in TV advertisements has long been familiar to Americans as a silhouette dancing against a colored screen, exhibiting moves from air guitar to breakdance tricks, all in service of selling the latest Apple product. But as author Colleen T. Dunagan shows in Consuming Dance, the advertising industry used dance to market items long before iPods. In this book, Dunagan lays out a comprehensive history and analysis of dance commercials to demonstrate the ways in which the form articulates with, informs, and reflects U.S. culture. In doing so, she examines dance commercials as cultural products, looking at the ways in which dance engages with television, film, and advertising in the production of cultural meaning. Throughout the book, Dunagan interweaves semiotics, choreographic analysis, cultural studies, and critical theory in an examination of contemporary dance commercials while placing the analysis within a historical context. She draws upon connections between individual dance-commercials and the discursive and production histories to provide a thorough look into brand identity and advertising's role in constructing social identities.
The second reason to make this distinction is that the phrase “choreographic work” has legal ramifications. ... and as has been discussed more recently in Anthea Kraut's Choreographing Copyright: Race, Gender, and Intellectual Property ...
Author: Peter A. French
Publisher: John Wiley & Sons
This volume brings together new work in the philosophy of dance for a general philosophical audience. Scholars working across the fields of philosophy, dance studies, and related areas explore the nature of dance as a practice and an artform. This collection of essays covers topics such as the experience of dancing, the nature and appreciation of dance artworks, and the distinctive contribution of dance to philosophical understanding.
Studies Prepared for the Subcommittee on Patents, Trademarks, and Copyrights of the Committee on the Judiciary. ... Nevertheless , if a choreographic work constitutes an original work of authorship , there would seem to be no reason why ...
Release on 1960 | by United States. Congress. Senate. Committee on the Judiciary. Subcommittee on Patents, Trademarks, and Copyrights
These practical obstacles to securing copyright protection for choreographic works have been overcome to a large extent by the development of standard systems of dance notation 4 and the motion picture.6 At the same time, ...
Author: United States. Congress. Senate. Committee on the Judiciary. Subcommittee on Patents, Trademarks, and Copyrights
Framed for murder in the town of Valley Shadow, Dave Norton finds himself on the run with saloon singer Nina Voles from both the sheriff and saloon owner Jeff Kelvin.
Release on 1994 | by University of California, Davis. School of Law
too restrictions on choreographic copyright protection were severe.54 Accordingly , the commentators proposed that Congress broaden the scope of choreographic copyright protection.55 For many years , however , Congress rejected ...
Author: University of California, Davis. School of Law
Choreographers of 29 nations determine common problems . The New York Times ( Nov. 19 , 1978 ) . This article discusses the UNESCO five - year plan for dance and the resolutions drawn up for the protection of choreographers and their ...
The copyright of choreographers The marketable commodity which arises from the creative endeavour of choreographers is their choreographic works . Thus , it is important that choreographers and their legal advisers consider the ...
Thus the bat- some member of the original dance they had only their own memories tle of choreographers for legal recog- company to restage the dances after as a guide . Now the Copyright Office nition and protection passed into his- the ...
Instead of relying upon copyright law and its attendant statutory remedies , American choreographers have continued to operate much as before 1976 , following their own customary rules and utilizing contract law , rather than copyright ...
This very low figure corresponds to the legal literature on copyright and choreography , which repeatedly notes choreographers ' decision not to rely on copyright and to instead develop their own community ” system of protection ...
Author: William F. Patry
"The author provides an encyclopedic analysis of copyright, placing court opinions and statutes in their real-world context. In addition to enumerating a complete legislative and statutory history for relevant provisions on pertinent litigation issues, a circuit-by-circuit breakdown is provided. The extensive discussion of remedial, jurisdictional, choice of law, and international issues is unparalleled in other legal work."--Publisher's website.
Toward that end , this chapter approaches the institution of choreographic copyright as a valuable site for teasing out some of ... choreographers , and performers with names woven into a very real historical fabric ' ( 2001 : 35 ) .
Author: Susan Leigh Foster
Publisher: Studies in International Perfo
Category: Performing Arts
What world has been constructed for dancing through the use of the term 'world dance'? What kinds of worlds do we as scholars create for a given dance when we undertake to describe and analyze it? This volume of essays, the product of the authors' collective reckoning with these questions, endeavours to make new epistemological space for the analysis of the world's dances. The essays challenge the very foundations upon which the terms 'ethnic' or 'world' dance were created. They examine the exclusionary processes of collection and classification through which the world-building of various dance practices takes place, and as a result, how they acquire relative value and meaning. The essays implement a global perspective in order to examine the local, and they work reflexively to interrogate the embodied status of the researcher, 'choreographing' new approaches to the writing of history that respond to the exigencies of our global political moment.
Agnes De Mille describes the efforts of choreographers to attain contractual rights , and reports that a script with photographs was accepted for copyright of Fokine's Dying Swan . See Fed . Bar Ass'n , Subsidiary Rights and Residuals ...
Release on 1963 | by Copyright Society of the U.S.A.
Thus , section 202.7 of the Regulations , pertaining to “ Dramatic and dramatico - musical composition ( Class D ) , ” says : Choreographic works of a dramatic character , whether the story or theme be expressed by music and action ...
And , in our discussions of copyright , some choreographers expressed the erroneous belief that if another ... Dance World Custom In the many years before the law covered choreographic copyright , the dance world used other methods to ...
Author: Sally Banes
Category: Performing Arts
Sally Banes has been a preeminent critic and scholar of American contemporary dance, and Before, Between, Beyond spans more than thirty years of her prolific work. Beginning with her first published review and including previously unpublished papers, this collection presents some of her finest works on dance and other artistic forms. It concludes with her most recent research on Geroge Balanchine's dancing elephants. In each piece, Banes's detailed eye and sensual prose strike a rare balance between description, context, and opinion, delineating the American artistic scene with remarkable grace. With contextualizing essays by dance scholars Andrea Harris, Joan Acocella, and Lynn Garafola, this is a compelling, insightful indispensable summation of Banes's critical career.
36 $ 2.10 PANTOMIMES AND CHOREOGRAPHIC WORKS Section 102 ( a ) ( 4 ) of the Copyright Act includes “ pantomimes and choreographic works ” as copyrightable subject matter . Although this represents the first statutory recognition of ...
NEW CLOUT FOR STAGE DIRECTORS : COPYRIGHT PROTECTION AVAILABLE FOR CREATIVE WORK Richard C. Reuben 81 A.B.A.J. 32 ( Oct. 1995 ) Stage directors and choreographers now can obtain copyright protection for their creative work , thanks in ...
Author: Robert M. Jarvis
Although normally thought of in terms of its creative and artistic values, staging a play or musical involves numerous legal relationships and obligations. Accordingly, this casebook provides the first comprehensive overview of the law governing the theater industry. Among the subjects examined are the history of the theater; the practice of theater law; the creative rights of playwrights; the financial rights of producers and investors; the employment rights of directors, performers, and crew members; and the attendance rights of audiences. While principally concerned with Broadway and Off-Broadway productions, the final two chapters focus on road tours and amateur theater groups. The casebook's 104 principal readings use the battles fought over some of Broadway's biggest shows to spark student interest and promote classroom discussion. The line-up includes such hits as Annie, Bus Stop, Cats, Guys and Dolls, Jekyll & Hyde, Jesus Christ Superstar, Miss Saigon, My Fair Lady, Rent, South Pacific, The King and I, The Music Man, The Phantom of the Opera, The Producers, The Sound of Music, and Urinetown. Also taking turns are such notable figures as Jackie Mason, Ann Miller, Rosie O'Donnell, Eugene O'Neill, Lynn Redgrave, Neil Simon, Cicely Tyson, and Tennessee Williams. Supplementing the principal readings are 145 notes, 28 problems, and nine appendices. While the notes and problems help students sharpen their grasp of the underlying concepts, the appendices reproduce the essential contracts used by theater lawyers. Because the chapters have been written in ''stand-alone'' fashion, instructors are able to rearrange them to fit their interests and time requirements. Jarvis, Chaikelson, Corcos, Edmonds, Garon, Ghosh, Henslee, Kende, Palmer, Schultz, Scordato, and White have avoided ''squib'' cases, used both legal and non-legal materials, and included numerous references to secondary sources. The result is a highly-engaging work that supports both survey courses and seminars and fills the gap left by entertainment law casebooks, which tend to focus on movies and television. At the same time, it provides instructors with an opportunity to bolster their students' understanding of such fields as anti-trust law, arbitration, contracts, First Amendment law, labor and employment law, professional responsibility, and torts. A 168-page teacher's manual walks both new and experienced instructors through the materials, offering detailed analyses, questions to be asked in class, and suggestions for field trips, outside speakers, and extra credit assignments.
Is an exercise routine registrable as a choreographic work ? The 1990 Report of the Register of Copyrights , at page 16 , advanced the opinion that , in general , exercise routines are not protectable as choreography , but there may be ...
Release on 1961 | by Library of Congress. Copyright Office
CHOREOGRAPHIC WORKS 3 a . Choreographic works as proper subject of copyright Choreographic works , such as ballets , represent a recognized art form , and undoubtedly constitute works of authorship . Until fairly recent times it was ...