Piracy in the motion picture industry
著者
書誌事項
Piracy in the motion picture industry
McFarland, c2003
大学図書館所蔵 全1件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. 199-213) and index
内容説明・目次
内容説明
Film piracy began almost immediately after the birth of the film industry. Initially it was a within-the-industry phenomenon as studios stole from each other. As the industry grew and more money was involved, outsiders became more interested in piracy. Stolen material made its way offshore since detection was less likely. Hollywood's major film studios vigorously pursued pirates and had the situation fairly well under control by the middle 1970s - not eliminated but reduced to a low level - until videocassettes arrived. This work begins with a discussion of some of the earliest cases of piracy in vaudeville, and then considers how the problem continued to grow caused by the lack of legal resource available to performers, and the ways film exhibitors cheated the film distributors and companies and the measures that the distributors and companies took to prevent piracy over the years. Also examined are the practices of American theater owners who tried to cheat Hollywood, especially through the practice known as bicycling - extra, unpaid for screenings of a legitimately held film - and altering paperwork to reduce the money owed to distributors on films screened on percentage contracts. Also examined, to a lesser degree, are Hollywood's own efforts to cheat, including the disregard of copyrights held by others.
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