"Tells the story of how the clashes between authors, publishers, and literary "pirates" influenced both American copyright law and literature itself."--Dust jacket flap

Today, virtually all companies, artists, and innovators run the risk of losing their competititve edge-and big money-by not adequately safeguarding their intellectual property. Written by an expert in intellectual property law, this is the first book to address the full range of legal protections available-patents, copyrights, trademarks, trade secrets, and licensing-with innovative information you won't find elsewhere, including: € Legal landmines every successful entrepreneur must avoid € Business practices that can be protected-but are often overlooked € Protecting your intellectual property on the Internet € What are your ideas and the rights to them really worth? € Why trade secrets are a powerful and under-utilized protection € Lessons learned from Amazon.com, Microsoft, and other elite entrepreneurs € How even smart, savvy AOL lost exclusive trademarks, including "YOU'VE GOT MAIL!" The Entrepreneur's Guide to Patents, Copyrights, Trademarks, Trade Secrets and Licensing is the definitive guide for the entrepreneur and innovator who is ready to protect what he or she has created-a

A fascinating and original history of an idea that now controls and monetizes almost everything we do. Copyright is everywhere. Your smartphone incorporates thousands of items of intellectual property. Someone owns the reproduction rights to photographs of your dining table. At this very moment, battles are raging over copyright in the output of artificial intelligence programs. Not only books but wallpaper, computer programs, pop songs, cartoon characters, snapshots, and cuddly toys are now deemed to be intellectual properties—making copyright a labyrinthine construction of laws with colorful and often baffling rationales covering almost all products of human creativity. It wasn’t always so. Copyright has its roots in eighteenth-century London, where it was first established to limit printers’ control of books. But a handful of little-noticed changes in the late twentieth century brought about a new enclosure of the cultural commons, concentrating ownership of immaterial goods in very few hands. Copyright’s metastasis can’t be understood without knowing its backstory, a long tangle of high ideals, low greed, opportunism, and word-mangling that allowed poems and novels (and now, even ringtones and databases) to be treated as if they were no different from farms and houses. Principled arguments against copyright arose from the start and nearly abolished it in the nineteenth century. Nonetheless, countless revisions have made copyright ever stronger. Who Owns This Sentence? is an often-humorous and always-enlightening cultural, legal, and global history of the idea that intangible things can be owned, and makes a persuasive case for seeing copyright as an engine of inequality in the twenty-first century.

Widespread file sharing has led content industries – publishers and distributors of books, music, films, and software – to view their customers as growing threats to their survival. Content providers and their allies, especially the U.S. government, have pushed for stronger global copyright policies through international treaties and domestic copyright reforms. Internet companies, individuals, and public-interest groups have pushed back, with massive street protests in Europe and online “internet blackouts” that derailed the 2012 U.S. Stop Online Piracy Act (SOPA). But can citizens or smaller countries really stand in the way of the U.S. copyright juggernaut? To answer this question, Copyfight examines the 1996 World Intellectual Property Organization internet treaties that began the current digital copyright regime. Blayne Haggart follows the WIPO treaties from negotiation to implementation from the perspective of three countries: the United States, Canada, and Mexico. Using extensive interviews with policymakers and experts in these three countries, Haggart argues that not all the power is in the hands of the U.S. government. Small countries can still set their own course on copyright legislation, while growing public interest in copyright issues means that even the United States might move away from ever-increasing copyright protection.

Drawing on Schumpeter's theory of creative destruction, the book explores whether the expansion of the duration of copyright promotes or precludes the growth of the book publishing industry. The book reviews the historical development of UK copyright expansion and also considers copyright in the digital age. By exploring legal and economic aspects of copyright protection, and the expansion of copyright duration in particular, the author suggests changes to copyright policy which would have a significant impact on the economics of innovation in the creative industries.

Copyright law regulates creativity. It affects the way people create works of authorship ex-ante and affects the status of works of authorship significantly ex-post. But does copyright law really understand creativity? Should legal theories alone inform our regulation of the creative process? This book views copyright law as a law of creativity. It asks whether copyright law understands authorship as other creativity studies fields do. It considers whether copyright law should incorporate non-legal theories, and if so, how it should be adjusted in their light. For this purpose, the book focuses on one of the many rights that copyright law regulates – the right to make a derivative work. A work is considered derivative when it is based on one or more preexisting works. Today, the owner of a work of authorship has the exclusive right to make derivative works based on her original work or to allow others to do so. The book suggests a new way to think about both the right, the tension, and copyright law at large. It proposes relying on non-legal fields like cognitive psychology and genre theories, and offers new legal-theoretical justifications for the right to make derivative works. As the first book to consider the intersection between copyright law, creativity and derivative works, this will be a valuable resource for students, scholars, and practitioners interested in intellectual property and copyright law.

Copyright Workflow for Photographers: Protecting, Managing & Sharing Digital Images will help photographers build best practices for copyright registration and management into their existing image processing workflows using the popular Adobe® Creative CloudTM software suite. Part legal manual, part software manual, the book will go beyond existing offerings in the “copyright for photographers” space by providing step-by-step guidance on protecting, managing, and enforcing intellectual property rights in their images using specific software tools. Written by a photographer, who is also serves a senior policy advisor at the U.S. Copyright Office, there is no other resource better equipped to help photographers through this essential, yet hard-to-tackle, topic! The book’s workflow approach capitalizes on widespread interest in the photography community in copyright protection and enforcement, enhancing digital workflows, and popular workflow software such as Lightroom®, Photoshop®, and Acrobat®. This book is focused on U.S. copyright laws and requirements. Readers outside the U.S. may find it useful if they intend to register their images in the United States, or post images to websites based in the United States.