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Nimeke- ja vastuullisuusmerkintö Choreographers and copyright ownership : investigating an apparent dysfunction
Julkaistu
Ulkoasutiedot
Sarjamerkintö ei-lisäkirjausmuodossa Journal of Intellectual Property Law & Practice, ISSN 1747-1532 ; 10 (12)
Huomautus sisällöstä, tiivistelmä tms. This article is an investigation into the proposition that choreographers are not actively safeguarding their rights under copyright law. Unlike other authors such as composers, playwrights and screenwriters, choreographers are not as strongly represented by professional bodies: choreographers do not enjoy powerful trade union-type representation that actively serves to protect their interests. In this regard, US choreographers enjoy not only stronger representation from Equity, but they can also benefit from the effective negotiations conducted on their behalf by the Stage Directors and Choreographers Society (SDC) established in 1959. The idea that choreographers will be forced to acquire a more sophisticated approach towards copyright ownership due to the burgeoning dissemination of dance works is also investigated. UK choreographers must therefore contemplate the long-term prospects of their creative endeavours and adopt measures to prevent others from wresting their rights to control the staging, performance, dissemination and adaptation of their works. The choreographer must contend not only with a more vibrant marketplace for his or her works, but also with the greater opportunity for derogatory treatment and copyright infringement. UK choreographers should therefore secure more powerful representation so that they can attain parity with the status enjoyed by other authors in the performing arts.
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*520 $a This article is an investigation into the proposition that choreographers are not actively safeguarding their rights under copyright law. Unlike other authors such as composers, playwrights and screenwriters, choreographers are not as strongly represented by professional bodies: choreographers do not enjoy powerful trade union-type representation that actively serves to protect their interests. In this regard, US choreographers enjoy not only stronger representation from Equity, but they can also benefit from the effective negotiations conducted on their behalf by the Stage Directors and Choreographers Society (SDC) established in 1959. The idea that choreographers will be forced to acquire a more sophisticated approach towards copyright ownership due to the burgeoning dissemination of dance works is also investigated. UK choreographers must therefore contemplate the long-term prospects of their creative endeavours and adopt measures to prevent others from wresting their rights to control the staging, performance, dissemination and adaptation of their works. The choreographer must contend not only with a more vibrant marketplace for his or her works, but also with the greater opportunity for derogatory treatment and copyright infringement. UK choreographers should therefore secure more powerful representation so that they can attain parity with the status enjoyed by other authors in the performing arts.
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