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Articles de revues sur le sujet « Piracy (Copyright) Australia »

Auteur : Grafiati
Publié le 4 juin 2021
Mis à jour le 18 février 2022

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1

Gaunson, Stephen. "Lost adaptations: piracy, ‘Rip Offs’, and the Australian Copyright Act 1905." Historical Journal of Film, Radio and Television 37, no. 2 (March 9, 2016): 161–73. http://dx.doi.org/10.1080/01439685.2016.1157288.

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Chelberg, Kristina. "‘Sharing is Caring’: Copyright Metaphors and Online Sharing Norms." Law, Technology and Humans 3, no. 1 (September 28, 2021). http://dx.doi.org/10.5204/lthj.1271.

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Copyright is under contest in Australia amid growing digital cultures of sharing. Using metaphor as a frame for analysis, this study applies internet search data (Google Trends) methods to visualise Australian online information-seeking patterns for metaphors related to copyright and sharing. An overview of legal metaphors of online copyright (‘piracy’, ‘war on copyright’) and metaphors of digital sharing (‘sharing is caring’, ‘sharing economy’) leads to a critical examination of the ‘metaphor struggles’ between the rhetoric of copyright infringement and sharing cultures promoted by social med
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Arvanitakis, James, and Martin Fredriksson. "Commons, Piracy and the Crisis of Property." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 14, no. 1 (February 17, 2016). http://dx.doi.org/10.31269/triplec.v14i1.680.

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This article takes the politicisation of copyright and file sharing as a starting point to discuss the concept of the commons and the construction of property. Empirically, the article draws on a series of interviews with Pirate Party members in Sweden, Australia, Germany, the UK and USA; placed in the theoretical framework of the commons. We argue that piracy, as an act and an ideology, interrogates common understandings of property as something self-evident, natural and uncontestable. Such constructions found liberal market ideology. The article has two broad aims: to outline the different p
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Rimmer, Matthew. "Robbery under arms: Copyright law and the Australia-United States Free Trade Agreement." First Monday, March 6, 2006. http://dx.doi.org/10.5210/fm.v11i3.1316.

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This article considers the radical, sweeping changes to Australian copyright law wrought by the Australia–United States Free Trade Agreement 2004 (AUSFTA). It contends that the agreement will result in a “piracy of the public domain”. Under this new regime, copyright owners will be able to obtain greater monopoly profits at the expense of Australian consumers, libraries and research institutions, as well as intermediaries, such as Internet service providers. Part One observes that the copyright term extension in Australia to life of the author plus 70 years for works will have a negative econo
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Phillips, Dougal, and Oliver Watts. "Copyright, Print and Authorship in the Culture Industry." M/C Journal 8, no. 2 (June 1, 2005). http://dx.doi.org/10.5204/mcj.2340.

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 Historically the impact of the printing press on Western culture is a truism. Print gave rise to the mass reproduction and circulation of information with wide reaching consequences in all fields: political, social, and economic. An aspect that this paper wishes to focus on is that this moment also saw the birth (and necessity) of copyright legislation, to administer and protect this new found ability to package and disseminate text. The term copyright itself, used freely in debates surrounding contemporary topics such as iTunes, DVD piracy, and file-sharing, is not only s
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6

Bruns, Axel. "The Fiction of Copyright." M/C Journal 2, no. 1 (February 1, 1999). http://dx.doi.org/10.5204/mcj.1737.

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It is the same spectacle all over the Western world: whenever delegates gather to discuss the development and consequences of new media technologies, a handful of people among them will stand out from the crowd, and somehow seem not quite to fit in with the remaining assortment of techno-evangelists, Internet ethnographers, multimedia project leaders, and online culture critics. At some point in the proceedings, they'll get to the podium and hold a talk on their ideas for the future of copyright protection and intellectual property (IP) rights in the information age; when they are finished, th
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Leisten, Susanna, and Rachel Cobcroft. "Copy." M/C Journal 8, no. 3 (July 1, 2005). http://dx.doi.org/10.5204/mcj.2351.

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 Rip, mix, share, and sue. Has ‘copy’ become a dirty word? The invitation to artists, activists, consumers and critics to engage in the debate surrounding the creative processes of ‘copy’ has been insightful, if not inciting sampling/reproduction/reflection itself: It clearly questions whether ‘copy’ deserves the negative connotations that it currently summonses. It has confronted the divide between the original and its replica, and questioned notions of authenticity and the essence of identity. It has found that ‘open source’ is an opportunity to capitalise on creativity,
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Collins, Steve. "‘Property Talk’ and the Revival of Blackstonian Copyright." M/C Journal 9, no. 4 (September 1, 2006). http://dx.doi.org/10.5204/mcj.2649.

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 Proponents of the free culture movement argue that contemporary, “over-zealous” copyright laws have an adverse affect on the freedoms of consumers and creators to make use of copyrighted materials. Lessig, McLeod, Vaidhyanathan, Demers, and Coombe, to name but a few, detail instances where creativity and consumer use have been hindered by copyright laws. The “intellectual land-grab” (Boyle, “Politics” 94), instigated by the increasing value of intangibles in the information age, has forced copyright owners to seek maximal protection for copyrighted materials. A prop
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Dieter, Michael. "Amazon Noir." M/C Journal 10, no. 5 (October 1, 2007). http://dx.doi.org/10.5204/mcj.2709.

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 There is no diagram that does not also include, besides the points it connects up, certain relatively free or unbounded points, points of creativity, change and resistance, and it is perhaps with these that we ought to begin in order to understand the whole picture. (Deleuze, “Foucault” 37) Monty Cantsin: Why do we use a pervert software robot to exploit our collective consensual mind? Letitia: Because we want the thief to be a digital entity. Monty Cantsin: But isn’t this really blasphemic? Letitia: Yes, but god – in our case a meta-cocktail of authorship and copyright –
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Bowrey, Kathy, and Matthew Rimmer. "Rip, Mix, Burn: The politics of peer to peer and copyright law (originally published in August 2002)." First Monday, July 4, 2005. http://dx.doi.org/10.5210/fm.v0i0.1456.

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This paper is included in the First Monday Special Issue: Music and the Internet, published in July 2005. Special Issue editor David Beer asked authors to submit additional comments regarding their articles. Since this paper was first published in 2002 there has been a constant stream of litigation surrounding P2P in the US and in other jurisdictions. In the United States, the District Court and the Court of Appeals controversially held that Grokster was not liable for contributory and vicarious copyright infringement. Justice Thomas of the Federal Circuit observed: "We live in a quicksilver t
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Rossiter, Ned. "Creative Industries and the Limits of Critique from." M/C Journal 6, no. 3 (June 1, 2003). http://dx.doi.org/10.5204/mcj.2208.

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‘Every space has become ad space’. Steve Hayden, Wired Magazine, May 2003. Marshall McLuhan’s (1964) dictum that media technologies constitute a sensory extension of the body shares a conceptual affinity with Ernst Jünger’s notion of ‘“organic construction” [which] indicates [a] synergy between man and machine’ and Walter Benjamin’s exploration of the mimetic correspondence between the organic and the inorganic, between human and non-human forms (Bolz, 2002: 19). The logo or brand is co-extensive with various media of communication – billboards, TV advertisements, fashion labels, book spines,
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12

Hightower, Ben, and Scott East. "Protest in Progress/Progress in Protest." M/C Journal 21, no. 3 (August 15, 2018). http://dx.doi.org/10.5204/mcj.1454.

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To sin by silence, when we should protest,Makes cowards out of men.— Ella Wheeler WilcoxProtest is culturally entwined in historical and juro-political realities and is a fundamental element of the exercise of individual and collective rights. As our title notes, while there are currently many ‘protests in progress’ around the world, there is also a great deal of ‘progress in protest’ in terms of what protests look like, their scale and number, how they are formed and conducted, their goals, how they can be studied, as well as the varying responses formed in relation to protest. The etymology
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Hollier, Scott, Katie M. Ellis, and Mike Kent. "User-Generated Captions: From Hackers, to the Disability Digerati, to Fansubbers." M/C Journal 20, no. 3 (June 21, 2017). http://dx.doi.org/10.5204/mcj.1259.

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Writing in the American Annals of the Deaf in 1931, Emil S. Ladner Jr, a Deaf high school student, predicted the invention of words on screen to facilitate access to “talkies”. He anticipated:Perhaps, in time, an invention will be perfected that will enable the deaf to hear the “talkies”, or an invention which will throw the words spoken directly under the screen as well as being spoken at the same time. (Ladner, cited in Downey Closed Captioning)This invention would eventually come to pass and be known as captions. Captions as we know them today have become widely available because of a compl
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West, Patrick Leslie, and Cher Coad. "Drawing the Line: Chinese Calligraphy, Cultural Materialisms and the "Remixing of Remix"." M/C Journal 16, no. 4 (August 11, 2013). http://dx.doi.org/10.5204/mcj.675.

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Western notions of authors’ Intellectual Property Rights (IPRs), as expressed within copyright law, maintain a potentially fraught relationship with a range of philosophical and theoretical positions on writing and authorship that have developed within contemporary Western thinking. For Roland Barthes, authorship is compromised, de-identified and multiplied by the very nature of writing: ‘Writing is that neutral, composite, oblique space where our subject slips away, the negative where all identity is lost, starting with the very identity of the body writing’ (142). Gilles Deleuze and Félix Gu
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Lobato, Ramon, and James Meese. "Kittens All the Way Down: Cute in Context." M/C Journal 17, no. 2 (April 23, 2014). http://dx.doi.org/10.5204/mcj.807.

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This issue of M/C Journal is devoted to all things cute – Internet animals and stuffed toys, cartoon characters and branded bears. In what follows our nine contributors scrutinise a diverse range of media objects, discussing everything from the economics of Grumpy Cat and the aesthetics of Furbys to Reddit’s intellectual property dramas and the ethics of kitten memes. The articles range across diverse sites, from China to Canada, and equally diverse disciplines, including cultural studies, evolutionary economics, media anthropology, film studies and socio-legal studies. But they share a common
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