Copyright and Popular Media: Liberal Villains and by Trajce Cvetkovski

By Trajce Cvetkovski

Media piracy in tune, movie and gaming is as a lot in regards to the way forward for formal copyright governance because it is set morality and freedom of expression. An unlawful buyer isn't a nasty or immoral individual simply because copyright legislation country the act of copyright infringement is illegitimate. background unearths what social networking on the planet of digitalization now tells us – shoppers have consistently engaged in criminal and unlawful renowned media intake. Convergent intake styles aren't new – dossier sharing is the newest improvement.

However the dominant few that have validated the established order over numerous a long time strongly withstand exterior technological demanding situations. the company elite which keep an eye on the majority of well known media and their copyrights strictly safeguard the formal felony constructions within which copyrights exist. however the criminal truth is that the façade of copyright governance has been heavily challenged within the twenty first Century. This e-book explores the unresolved matters eager about media piracy and intake.

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Extra info for Copyright and Popular Media: Liberal Villains and Technological Change

Sample text

Garnham’s work (1990) in relation to ownership concentration and the multinational dimension of cultural industries is particularly helpful when conceptualizing media industries. Furthermore, Petersen and Annand’s works (2004) (including works on pop music and pop culture generally (Peterson and Berger, 1990)) on the production of culture and its nexus with technology, law, industry structure and organization is important. These significant contributions in the broader field of popular culture assist in situating the debate about how popular culture is produced, developed and expressed – or, in other words, popular culture’s system of organization.

This can be used to justify the continuation of existing power relations in the organization of these industries. It emphasizes the legitimizing function of the law. The relationship between the powerful few who own the copyright vested in popular media and the evolution of copyright laws constitutes this ideology of law. Legal realism recognizes the artificiality of corporations. They are not tangible beings like humans. It is difficult to imagine how policies might be implemented so as to enforce proper moral or ethical values on such ‘citizens’.

In a convergent world, popular media exchanges occur concurrently in a legal and illegal capacity – with or without the exchange of money. Traditional boundaries essential in financial transactions thus become blurred thereby complicating the acts of communication and consumption. Conceptions of mass media are broad spectrum in the sense they include all aspects of cultural consumption (from cinema and live-music attendance to purchasing products or participating in illegal consumption). This definition is narrower than the general notions of mass media as espoused in the literature – it is solely concerned with commodified products capable of being replicated and subsequently consumed gratis (namely recorded formats).

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