17 research outputs found
Copy rights: The politics of copying and creativity
This article analyses the politics of copyright and copying. Copyright is an increasingly important driver of the modern economy, but this does not exhaust its significance. It matters, we argue, not just for the distribution of rewards and resources in the creative industries, but as a site within which established political concerns â collective and individual interests and identities - are articulated and negotiated, and within which notions of âoriginalityâ, âcreativityâ and âcopyingâ are politically constituted. Set against the background of the increasing economic value attributed to the creative industries, the impact of digitalization on them, and the European Unionâs Digital Single Market strategy, the article reveals how copyright policy, and the underlying assumptions about âcopyingâ and âcreativityâ, express (often unexamined) political values and ideologies. Drawing on a close reading of policy statements, official reports, court cases, and interviews with stakeholders, we explore the multiple political aspects of copyright, showing how copyright policy operates to privilege particular interests and practices, and to acknowledge only specific forms of creative endeavour
âBlowinâ in the Windâ: Bob Dylan, Sam Shepard and the Question of American Identity
Katherine Weissâs chapter addresses the ways both Dylan and Sam Shepard work to destabilize American myths while insisting upon the very necessity of such mythsâin the form of masks, or always mutating performances. By focusing specifically on Shepardâs relationship with and effort to understand him, Weiss reveals the significance of Dylanâs protean nature (as it relates to Americaâs tendency to get trapped in, or to reify, its necessary myths). At the same time, she shows how Dylan and Shepard collaborated to break down outmoded myths by resurrecting, necessarily, new, albeit more temporary, unstable, performative onesâespecially in their interrogation of the concept of American identity. Weiss draws particular attention to Shepard and Dylanâs collaboration on the song âBrownsville Girlâ (1986)