Wednesday 24 October 2018 1730 – 1900
A History of IP in 50 Objects
Dr. Claudy Op den Kamp, Bournemouth University
For the first in the Autumn 2018 Public Lecture Series, CREATe looks forward to welcoming Claudy Op den Kamp to present ‘A History of IP in 50 Objects’.
The presentation will highlight the work on the book A History of Intellectual Property in 50 Objects (edited by Claudy Op den Kamp and Dan Hunter), which will be published by Cambridge University Press in 2019. The book presents IP as an approachable topic and demonstrates its importance by focusing on 50 objects—including the Singer Sewing Machine, the Corset, the Barbie Doll, and the Post-It.
All of the objects have been included for the larger social stories that they tell, stories that help us understand the unrecognised effect of IP upon historical events and current society.
One of the objects of particular significance in the context of CREATe research interests, is Walt Disney’s Steamboat Willie (1928). The exemplary entry—clear and concise, yet intellectually insightful—is written by Peter Decherney. The entry is a chapter on its own, which uses Disney’s film as a jumping off point to talk about the extension of the copyright term, the locking down of potential of other copyrighted works, and the orphan works phenomenon. The chapter is also linked to other entries; through its focus on a big corporation that exploits multiple regimes of the IP system to protect its products, it is linked to such entries as the Barbie Doll and the Lego Brick, and through its focus on exploitation of the public domain and creating enduring economic value out of cultural heritage, it is linked to an entry such as the Mona Lisa.
The presentation will use these and a variety of other entries to address IP as a determining factor in access to cultural heritage collections.
Claudy Op den Kamp is Lecturer in Film and faculty member at the Centre for Intellectual Property Policy and Management at Bournemouth University, UK, and Adjunct Research Fellow at Swinburne Law School, Australia. She holds a PhD from Plymouth University on the relationship between copyright ownership, access to archival film, and film historiography. She is a graduate of the University of Amsterdam (Film & Television Studies) and the University of East Anglia (Film Archiving). She has worked as Haghefilm Conservation’s Account Manager; as a Film Restoration Project Leader at the Nederlands Filmmuseum, and as a senior research assistant in the DIASTOR project at the Department of Film Studies at the University of Zurich.