Unauthorized Annexing of an Artist\u27s World: An Argument for Creator-Assignee Standing to Sue for Copyright Infringement

This Comment surveys the contemporary status of copyright law regarding a creator-assignee\u27s standing to sue for infringement and the bases for allowing a creator-assignee to bring an infringement action. Part II begins the discussion with a review of the general principles of copyright law, including its constitutional and statutory frameworks, its underlying policies, and the moral rights doctrine. Part III continues with an overview of the general constitutional standing principles and real party in interest prerequisites. It then outlines the statutory and judicial limits on standing to sue under copyright law. Part IV discusses the issue of assignee standing in copyright law and then reviews the issue of creator-assignee\u27s standing to sue. This discussion focuses on the recent case of Silvers v. Sony Pictures Entertainment, Inc., in which the Ninth Circuit Court of Appeals held that a creator-assignee does not have standing to sue. Finally, Part V sets forth three arguments for granting a creator-assignee standing to sue for copyright infringement. First, granting a creator-assignee standing to sue effectuates Congress\u27s intent that the rights granted under the Copyright Act of 1976 be divisible and alienable. Second, a creator-assignee fulfills the standing and real party in interest prerequisites. Finally, allowing a creator-assignee standing to sue advances the constitutional goals of promoting progress and protecting a creator\u27s rights in her work. The thrust of this argument relies on both the economic and non-economic justifications of copyright law, in particular the right of attribution

Unauthorized Annexing of an Artist\u27s World: An Argument for Creator-Assignee Standing to Sue for Copyright Infringement

This Comment surveys the contemporary status of copyright law regarding a creator-assignee\u27s standing to sue for infringement and the bases for allowing a creator-assignee to bring an infringement action. Part II begins the discussion with a review of the general principles of copyright law, including its constitutional and statutory frameworks, its underlying policies, and the moral rights doctrine. Part III continues with an overview of the general constitutional standing principles and real party in interest prerequisites. It then outlines the statutory and judicial limits on standing to sue under copyright law. Part IV discusses the issue of assignee standing in copyright law and then reviews the issue of creator-assignee\u27s standing to sue. This discussion focuses on the recent case of Silvers v. Sony Pictures Entertainment, Inc., in which the Ninth Circuit Court of Appeals held that a creator-assignee does not have standing to sue. Finally, Part V sets forth three arguments for granting a creator-assignee standing to sue for copyright infringement. First, granting a creator-assignee standing to sue effectuates Congress\u27s intent that the rights granted under the Copyright Act of 1976 be divisible and alienable. Second, a creator-assignee fulfills the standing and real party in interest prerequisites. Finally, allowing a creator-assignee standing to sue advances the constitutional goals of promoting progress and protecting a creator\u27s rights in her work. The thrust of this argument relies on both the economic and non-economic justifications of copyright law, in particular the right of attribution

El periodista detective : La construcción del discurso de Ricardo Canaletti en el canal TN

En el transcurso de la historia periodística, la temática policial ha tenido una importante presencia en la agenda mediática. Tras nutrirse de la literatura policial y de elementos del Nuevo Periodismo, este género desarrolló características propias. En la actualidad, y mediado por un contexto de constante lucha ideológica por las nociones de seguridad/inseguridad, el análisis de lo policial y sus formas en las noticias se torna especialmente relevante. El presente trabajo pretende analizar la construcción del discurso periodístico de Ricardo Canaletti, quien se desarrolla como comunicador especializado en policiales en la señal “Todo Noticias”, perteneciente al grupo Clarín.Facultad de Periodismo y Comunicación Socia

Mucedorus: the last ludic playbook, the first stage Arcadia

This article argues that two seemingly contradictory factors contributed to and sustained the success of the anonymous Elizabethan play Mucedorus (c. 1590; pub. 1598). First, that both the initial composition of Mucedorus and its Jacobean revival were driven in part by the popularity of its source, Philip Sidney's Arcadia. Second, the playbook's invitation to amateur playing allowed its romance narrative to be adopted and repurposed by diverse social groups. These two factors combined to create something of a paradox, suggesting that Mucedorus was both open to all yet iconographically connected to an elite author's popular text. This study will argue that Mucedorus pioneered the fashion for “continuations” or adaptations of the famously unfinished Arcadia, and one element of its success in print was its presentation as an affordable and performable version of Sidney's elite work. The Jacobean revival of Mucedorus by the King's Men is thus evidence of a strategy of engagement with the Arcadia designed to please the new Stuart monarchs. This association with the monarchy in part determined the cultural functions of the Arcadia and Mucedorus through the Interregnum to the close of the seventeenth century

Where Isabella Valency Crawford Died

Recent studies have thrown up serious doubts about the length of Crawford's residence at 57 John Street, Toronto, and about her relationship with the owners of that residence, Charles Joseph Stuart and Henrietta Cruikshank Stuart. While friends, acquaintances, and family members have attested to a long association between Crawford and the Stuarts, the facts -- bills of sale, mortgage agreements, the Toronto City Directory, and rental records -- seem to contradict these reminiscences. However, a copy of Crawford's Old Spookses' Pass, inscribed by Crawford herself, proves a long friendship between herself and the Stuart family

Implementing a low-complexity, adaptive, layered video coder for video teleconferencing

Real-time interactive video applications, such as video teleconferencing, present difficult challenges to network designers due to strict quality of service constraints and the limitations of traditional video compression schemes. These limitations reveal themselves notably in two areas: poor error robustness and a lack of flexibility when dealing with multicast scenarios over heterogeneous networks. A more promising approach that improves error robustness while also offering a solution to the network heterogeneity problem is to employ a layered video codec. This thesis presents the implementation of a new layered video coder scheme. Block updating coupled with an aging algorithm is used in this scheme to select macroblocks for transmission. Block updating selects macroblocks that have changed due to scene motion, and the aging algorithm ensures that an entire frame is transmitted within a set time interval. Layering is accomplished through application of the fast Haar transform and/or the discrete cosine transform. Layer assignments are made by grouping bands of coefficients with similar variances. Quantization and encoding for motion video employs both an industry standard and uniform quantization with a custom variable length coding table. For static slides, uniform quantization and a second custom variable length coding table are employed. Rate control is accomplished via the reduction of a four-dimensional operational distortion surface to a one-dimensional optimal curve implemented as a simple table lookup of quantizershttp://www.archive.org/details/implementinglowc00skreLieutenant, United States NavyApproved for public release; distribution is unlimited