Tag Archives: UGC

Calling all YouTubers: Meetup 24th June

Online video has become serious business. From YouTube’s new copyright review team to the Fine Brothers’ attempt to protect ‘reaction’ videos as a format, there is lots to talk about. We invite UK-based video creators to join us for a roundtable discussion and networking event at the RSA House in London on 24th June. The theme of this meetup is copyright and creativity in online video production. Recent developments on YouTube and other platforms have raised questions and worries: How can small creators protect themselves from unauthorised taking of content? What are some good ways to obtain licenses for music? Is it possible to parody clips from broadcast TV or film? What is the most effective way of dealing with … Continue reading

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Last Weekend to See British Folk Art at Tate Britain

Last month I had the opportunity to visit the British Folk Art exhibition at the Tate Britain in London, which runs until 31st August. This small but carefully-curated show will likely be of interest to copyright researchers and those interested in quotidian, outsider and craft art production. As someone who works on the intellectual property status of amateur media, I was drawn to this exhibition on a sunny Saturday in July, to find out if I could make any linkages between Kickstarter fan-fiction and the long trajectory of craft artisanship going back to Neolithic times. Knowing very little about folk art forms before my visit, it turns out there were many interesting connections to be made between current-day digital practices … Continue reading

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New research examines IP status of user-generated contributions to TV production

An article published this week in the Journal of Media Business Studies by authors Todd Green and CREATe research fellow Kris Erickson asks, ‘what happens when user contributions are solicited and used to produce interactive TV?’ The question is a thorny one for a number of reasons, not least because cultural and organisational conditions under which TV is made are often distant from professional legal conceptions of copyright. The authors argue that television production teams operate with at least four sometimes contradictory models of intellectual property in mind: legal, entrepreneurial, financial, and communitarian. Important copyright considerations abound. User contributions are most often solicited via third-party platforms such as facebook and twitter, which are governed by terms of service agreements. Further, … Continue reading

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