Michelle Bogre, Esq., is a Professor Emerita from Parsons School of Design in New York City, where she taught photography and copyright law for artists and designers. She is the author of three other books: Photography As Activism: Images for Social Change; Photography 4.0: A Teaching Guide for the 21st Century; and, her newest, Documentary Photography Reconsidered: Theory, History and Practice.Nancy Wolff is a partner at the bi-coastal firm Cowan, DeBaets, Abrahams & Sheppard, LLP. She is co-chair of the firm’s litigation department, Past President of the Copyright Society of the USA (CSUSA), and member of the American Bar Association (ABA) IP Task Force on Copyright Reform. She is the author of Best Practices in Image Licensing, published in the Licensing Journal, and The Professional Photographers Legal Handbook.

• Preface ; Acknowledgements ; Notes on Contributors ; I. Copyright Basics ; 1.1 Copyright Basics: What You Think You Know May Not Be True ; II. Literary Works ; 2.0. Literary Works: Chapter Introduction ; 2.1. Piracy of Books in the Digital Age ; 2.2. Is A Picture Really Worth More Than A Thousand Words? ; 2.3. Fair Use: The Judicial Mix-Up Over "A Mixed Question of Law and Fact" ; 2.4. Fair Use: The Linchpin to the Future of the Copyright Act ; 2.5. Self-Publishing Revolution: Copyright Pitfalls for Writers Who Go It Alone ; 2.6. Landmark Case ; III. Visual Arts (Photography, Illustration, Animation) ; 3.0. Visual Arts: Chapter Introduction ; 3.1. How Close Can You Get: Substantial Similarity in the Context of Works of Visual Art ; 3.2. Gorgeous Photograph, Limited Copyright ; 3.3. Copyright Concerns for Visual Journalists ; 3.4. Social Media: Use It and Lose It? ; 3.5. Landmark Case ; IV. Fine Art (Sculpture, Painting) ; 4.0. Fine Art: Chapter Introduction ; 4.1. The Art Collector’s Burden: Guiding a Collection Through the Thicket of Copyright Law ; 4.2. Protection of Street Art: Has VARA Finally Found its Métier? ; 4.3. Appropriation Art: Creating by Taking ; 4.4. Appropriation Art: Creating by Using ; 4.5. Authorship and Authenticity: Banksy ; 4.6. Landmark Case ; V. Music ; 5.0. Music: Chapter Introduction ; 5.1. A Remix Compulsory Licensing Regime for Music Mashups ; 5.2. Sampling: Using Recordings as Musical Instruments ; 5.3. Subconscious Copying: From George Harrison to Sam Smith, a Song Gets in Your Head and Winds up in a New Song ; 5.4. Why Music Should Not Be Free: The Battle for Survival ; 5.5. Music, Deposit Copies, and Unanswered Questions After Skidmore v. Led Zeppelin ; 5.6. Co-Authorship: A Little Help Can Lead to a Big Headache ; 5.7. Landmark Case ; VI. Video Games and Virtual Worlds ; 6.0. Video Games and Virtual Worlds: Chapter Introduction ; 6.1. Video Games and Virtual Worlds: Recreating the World and Fighting A Dragon In It ; 6.2. Virtual Property & Virtual Currency ; 6.3. Press "X" To Open: Pandora’s Loot Box ; 6.4. Landmark Case ; VII. Fashion ; 7.0. Fashion: Chapter Introduction ; 7.1. Buyer Beware: Copyright Issues in the Fashion Industry ; 7.2. Hermes in Hermès: Searching for Boundaries in Non-Traditional Trademarks and Copyrights ; 7.3. Idea/Expression Dichotomy: If the Belt Buckle Fits, You Can Copy It ; 7.4. Landmark Case ; VIII. Technology ; 8.0. Technology: Chapter Introduction ; 8.1. The DMCA Safe Harbor: User-Generated Content ; 8.2. The DMCA Safe Harbor: Policy and Practice Divided ; 8.3. Copyright Trolls: When Copyright Litigation Becomes a Business Model ; 8.4. Virtual Reality: Blending the Real World with Copying ; 8.5. Artificial Intelligence and the Future of Literary Works ; 8.6 Landmark Case ; IX. Future Copyright ; 9.1. Future of Copyright ; 9.2. What’s Next: Predictions from Interviewees and Authors

A helpful guide for lawyers and creators in all sectors of arts and entertainment, this collection assembles contributions from many of the leading figures in law practice and academia. The book offers a useful summary of copyright basics, then explores particular fields through a general introduction, contributor essays, and a "landmark case" illustrating the application of copyright norms to a dispute of legal and human interest. The concluding chapter forecasts future treatment of the key legal issues explored in this volume.Jane C. Ginsburg, Morton L. Janklow Professor of Literary and Artistic Property Law, Columbia University School of Law

Michelle Bogre, Esq., is a Professor Emerita from Parsons School of Design in New York City, where she taught photography and copyright law for artists and designers. She is the author of three other books: Photography As Activism: Images for Social Change; Photography 4.0: A Teaching Guide for the 21st Century; and, her newest, Documentary Photography Reconsidered: Theory, History and Practice.Nancy Wolff is a partner at the bi-coastal firm Cowan, DeBaets, Abrahams & Sheppard, LLP. She is co-chair of the firm’s litigation department, Past President of the Copyright Society of the USA (CSUSA), and member of the American Bar Association (ABA) IP Task Force on Copyright Reform. She is the author of Best Practices in Image Licensing, published in the Licensing Journal, and The Professional Photographers Legal Handbook.

• Preface ; Acknowledgements ; Notes on Contributors ; I. Copyright Basics ; 1.1 Copyright Basics: What You Think You Know May Not Be True ; II. Literary Works ; 2.0. Literary Works: Chapter Introduction ; 2.1. Piracy of Books in the Digital Age ; 2.2. Is A Picture Really Worth More Than A Thousand Words? ; 2.3. Fair Use: The Judicial Mix-Up Over "A Mixed Question of Law and Fact" ; 2.4. Fair Use: The Linchpin to the Future of the Copyright Act ; 2.5. Self-Publishing Revolution: Copyright Pitfalls for Writers Who Go It Alone ; 2.6. Landmark Case ; III. Visual Arts (Photography, Illustration, Animation) ; 3.0. Visual Arts: Chapter Introduction ; 3.1. How Close Can You Get: Substantial Similarity in the Context of Works of Visual Art ; 3.2. Gorgeous Photograph, Limited Copyright ; 3.3. Copyright Concerns for Visual Journalists ; 3.4. Social Media: Use It and Lose It? ; 3.5. Landmark Case ; IV. Fine Art (Sculpture, Painting) ; 4.0. Fine Art: Chapter Introduction ; 4.1. The Art Collector’s Burden: Guiding a Collection Through the Thicket of Copyright Law ; 4.2. Protection of Street Art: Has VARA Finally Found its Métier? ; 4.3. Appropriation Art: Creating by Taking ; 4.4. Appropriation Art: Creating by Using ; 4.5. Authorship and Authenticity: Banksy ; 4.6. Landmark Case ; V. Music ; 5.0. Music: Chapter Introduction ; 5.1. A Remix Compulsory Licensing Regime for Music Mashups ; 5.2. Sampling: Using Recordings as Musical Instruments ; 5.3. Subconscious Copying: From George Harrison to Sam Smith, a Song Gets in Your Head and Winds up in a New Song ; 5.4. Why Music Should Not Be Free: The Battle for Survival ; 5.5. Music, Deposit Copies, and Unanswered Questions After Skidmore v. Led Zeppelin ; 5.6. Co-Authorship: A Little Help Can Lead to a Big Headache ; 5.7. Landmark Case ; VI. Video Games and Virtual Worlds ; 6.0. Video Games and Virtual Worlds: Chapter Introduction ; 6.1. Video Games and Virtual Worlds: Recreating the World and Fighting A Dragon In It ; 6.2. Virtual Property & Virtual Currency ; 6.3. Press "X" To Open: Pandora’s Loot Box ; 6.4. Landmark Case ; VII. Fashion ; 7.0. Fashion: Chapter Introduction ; 7.1. Buyer Beware: Copyright Issues in the Fashion Industry ; 7.2. Hermes in Hermès: Searching for Boundaries in Non-Traditional Trademarks and Copyrights ; 7.3. Idea/Expression Dichotomy: If the Belt Buckle Fits, You Can Copy It ; 7.4. Landmark Case ; VIII. Technology ; 8.0. Technology: Chapter Introduction ; 8.1. The DMCA Safe Harbor: User-Generated Content ; 8.2. The DMCA Safe Harbor: Policy and Practice Divided ; 8.3. Copyright Trolls: When Copyright Litigation Becomes a Business Model ; 8.4. Virtual Reality: Blending the Real World with Copying ; 8.5. Artificial Intelligence and the Future of Literary Works ; 8.6 Landmark Case ; IX. Future Copyright ; 9.1. Future of Copyright ; 9.2. What’s Next: Predictions from Interviewees and Authors

A helpful guide for lawyers and creators in all sectors of arts and entertainment, this collection assembles contributions from many of the leading figures in law practice and academia. The book offers a useful summary of copyright basics, then explores particular fields through a general introduction, contributor essays, and a "landmark case" illustrating the application of copyright norms to a dispute of legal and human interest. The concluding chapter forecasts future treatment of the key legal issues explored in this volume.Jane C. Ginsburg, Morton L. Janklow Professor of Literary and Artistic Property Law, Columbia University School of Law

Michelle Bogre, Esq., is a Professor Emerita from Parsons School of Design in New York City, where she taught photography and copyright law for artists and designers. She is the author of three other books: Photography As Activism: Images for Social Change; Photography 4.0: A Teaching Guide for the 21st Century; and, her newest, Documentary Photography Reconsidered: Theory, History and Practice.Nancy Wolff is a partner at the bi-coastal firm Cowan, DeBaets, Abrahams & Sheppard, LLP. She is co-chair of the firm’s litigation department, Past President of the Copyright Society of the USA (CSUSA), and member of the American Bar Association (ABA) IP Task Force on Copyright Reform. She is the author of Best Practices in Image Licensing, published in the Licensing Journal, and The Professional Photographers Legal Handbook.

• Preface ; Acknowledgements ; Notes on Contributors ; I. Copyright Basics ; 1.1 Copyright Basics: What You Think You Know May Not Be True ; II. Literary Works ; 2.0. Literary Works: Chapter Introduction ; 2.1. Piracy of Books in the Digital Age ; 2.2. Is A Picture Really Worth More Than A Thousand Words? ; 2.3. Fair Use: The Judicial Mix-Up Over "A Mixed Question of Law and Fact" ; 2.4. Fair Use: The Linchpin to the Future of the Copyright Act ; 2.5. Self-Publishing Revolution: Copyright Pitfalls for Writers Who Go It Alone ; 2.6. Landmark Case ; III. Visual Arts (Photography, Illustration, Animation) ; 3.0. Visual Arts: Chapter Introduction ; 3.1. How Close Can You Get: Substantial Similarity in the Context of Works of Visual Art ; 3.2. Gorgeous Photograph, Limited Copyright ; 3.3. Copyright Concerns for Visual Journalists ; 3.4. Social Media: Use It and Lose It? ; 3.5. Landmark Case ; IV. Fine Art (Sculpture, Painting) ; 4.0. Fine Art: Chapter Introduction ; 4.1. The Art Collector’s Burden: Guiding a Collection Through the Thicket of Copyright Law ; 4.2. Protection of Street Art: Has VARA Finally Found its Métier? ; 4.3. Appropriation Art: Creating by Taking ; 4.4. Appropriation Art: Creating by Using ; 4.5. Authorship and Authenticity: Banksy ; 4.6. Landmark Case ; V. Music ; 5.0. Music: Chapter Introduction ; 5.1. A Remix Compulsory Licensing Regime for Music Mashups ; 5.2. Sampling: Using Recordings as Musical Instruments ; 5.3. Subconscious Copying: From George Harrison to Sam Smith, a Song Gets in Your Head and Winds up in a New Song ; 5.4. Why Music Should Not Be Free: The Battle for Survival ; 5.5. Music, Deposit Copies, and Unanswered Questions After Skidmore v. Led Zeppelin ; 5.6. Co-Authorship: A Little Help Can Lead to a Big Headache ; 5.7. Landmark Case ; VI. Video Games and Virtual Worlds ; 6.0. Video Games and Virtual Worlds: Chapter Introduction ; 6.1. Video Games and Virtual Worlds: Recreating the World and Fighting A Dragon In It ; 6.2. Virtual Property & Virtual Currency ; 6.3. Press "X" To Open: Pandora’s Loot Box ; 6.4. Landmark Case ; VII. Fashion ; 7.0. Fashion: Chapter Introduction ; 7.1. Buyer Beware: Copyright Issues in the Fashion Industry ; 7.2. Hermes in Hermès: Searching for Boundaries in Non-Traditional Trademarks and Copyrights ; 7.3. Idea/Expression Dichotomy: If the Belt Buckle Fits, You Can Copy It ; 7.4. Landmark Case ; VIII. Technology ; 8.0. Technology: Chapter Introduction ; 8.1. The DMCA Safe Harbor: User-Generated Content ; 8.2. The DMCA Safe Harbor: Policy and Practice Divided ; 8.3. Copyright Trolls: When Copyright Litigation Becomes a Business Model ; 8.4. Virtual Reality: Blending the Real World with Copying ; 8.5. Artificial Intelligence and the Future of Literary Works ; 8.6 Landmark Case ; IX. Future Copyright ; 9.1. Future of Copyright ; 9.2. What’s Next: Predictions from Interviewees and Authors

A helpful guide for lawyers and creators in all sectors of arts and entertainment, this collection assembles contributions from many of the leading figures in law practice and academia. The book offers a useful summary of copyright basics, then explores particular fields through a general introduction, contributor essays, and a "landmark case" illustrating the application of copyright norms to a dispute of legal and human interest. The concluding chapter forecasts future treatment of the key legal issues explored in this volume.Jane C. Ginsburg, Morton L. Janklow Professor of Literary and Artistic Property Law, Columbia University School of Law