FILMS

Justman, P., 2002. Standing in the Shadows of Motown, Momentum Pictures. 

Available at: http://www.standingintheshadowsofmotown.com

 

 

 

 

 

Neville, M., 2013. Twenty Feet From Stardom, RADiUS-TWC.

Available at: http://twentyfeetfromstardom.com/

 

 

 

 

 

 

Tedesco, D., 2015. The Wrecking Crew!, Magnolia Picture.

Available at: http://www.wreckingcrewfilm.com


SELECTED BIBLIOGRAPHY ON PERFORMERS AND COPYRIGHT LAW

 

Adeney, E., 2006. The Moral Rights of Authors and Performers: An International and Comparative Analysis 6 edition., Oxford ; New York: OUP Oxford.

Arnold, R., 1999. Are performers authors? European Intellectual Property Review.

Arnold, R., 2015. Performers’ Rights 5th Revised edition., London: Sweet & Maxwell.

Arnold, R., 2010. Reflections on “The Triumph of Music”: copyrights and performers’ rights in music. Intellectual Property Quarterly, pp.1–12.

Barron, A., 2006a. Copyright Law’s Musical Work. Social & Legal Studies, 15(1), pp.101–127.

Barron, A., 2006b. Introduction: Harmony or Dissonance? Copyright Concepts and Musical Practice. Social & Legal Studies, 15(1), pp.25–51.

Bently, L., 2009. Authorship of popular music in UK copyright law. Information, Communication & Society, 12(2), pp.179–204.

Brauneis, R., 2014. Musical Work Copyright for the Era of Digital Sound Technology: Looking Beyond Composition and Performance. GWU Law School Public Law Research Paper, (2014-4), pp.1–59.

Fleischer, R., 2015. Protecting the musicians and/or the record industry? On the history of “neighbouring rights” and the role of Fascist Italy. Intellectual Property, 206, p.24.

Gervais, D.J., 2015. The Protection of Performers Under US Law in Comparative Perspective. Available at: https://papers.ssrn.com/sol3/papers.cfm?abstract_id=2700919 [Accessed February 6, 2017].

McDonagh, L., 2012. Rearranging the roles of the performer and the composer in the music industry: the potential significance of Fisher v Brooker. Intellectual Property Quarterly, pp.1–13.

Pavis, M., 2016. Is There Any-Body on Stage? A Legal (Mis)understanding of Performances. The Journal of World Intellectual Property, 19(3-4), pp.99–114.

Toynbee, J., 2004. Musicians. In S. Frith & L. Marshall, eds. Music and Copyright. Edinburgh University Press.

Vigon, T., 2015. Blurred Lines: songwriters suffer as Tom, Dick and Harry demand their percentages. the Guardian. Available at: http://www.theguardian.com/music/musicblog/2015/mar/12/blurred-lines-songwriters-suffer-as-tom-dick-and-harry-demand-percentages [Accessed March 18, 2015].

Waelde, C., 2015. Music performed: what is beyond the score? In A. Rahmatian, ed. Concepts of Music and Copyright: How Music Perceives Itself and How Copyright Perceives Music. Cheltenham, UK: Edward Elgar Publishing Ltd, pp. 23–49.

Williamson, J., 2015. For the benefit of all musicians? The Musicians’ Union and performers’ rights in the UK. In A. Rahmatian, ed. Concepts of Music and Copyright: How Music Perceives Itself and How Copyright Perceives Music. Cheltenham, UK: Edward Elgar Publishing Ltd, pp. 167–194.


SELECTED BIBLIOGRAPHY ON JOINT AUTHORSHIP

 

Arnold, R., 2007. Copyright fandango. European Lawyer, (67), pp.1–2.

Bently, L. & Biron, L., 2014. Discontinuities between legal conceptions of authorship and social practices. In M. van Eechoud, ed. The work of authorship. Amsterdam: Amsterdam University Press, pp. 237–276. Available at: http://www.jstor.org/stable/10.2307/j.ctt12877zb [Accessed June 8, 2016].

Biron, L. & Cooper, E., 2016. Authorship, Aesthetics and the Artworld: Reforming Copyright’s Joint Authorship Doctrine. Law and Philosophy, 35(1), pp.55–85.

Cooper, E., 2015. Copyright and Mass Social Authorship: A Case Study of the Making of the Oxford English Dictionary. Social & Legal Studies, 24(4), pp.509–530.

Firth, A., 2015. Music and co-authorship/co-ownership. In A. Rahmatian, ed. Concepts of Music and Copyright: How Music Perceives Itself and How Copyright Perceives Music. Cheltenham, UK: Edward Elgar Publishing Ltd, pp. 143–166.

McDonagh, L., 2012. Rearranging the roles of the performer and the composer in the music industry: the potential significance of Fisher v Brooker. Intellectual Property Quarterly, pp.1–13.