55. The Structure, Function, and Operations of Intellectual Property Service Providers
Notes (continued)
9 Richard Weisgrau, Media Photographers Copyright Association, personal communication, (1997). MPCA’s mission, as stated on the organization’s Web site, is: "MPCA will be a positive force in global industry, striving to facilitate the business relationship between photographers and their clients, and to reduce costs of transactions, thus increasing the profitability of both, while advancing ethical, clear, fair and acceptable business practices. MPCA will strive to develop existing and new markets, providing new opportunities for photographers and their clients. It will seek to provide fine photographic imagery for all applications consistent with advancement of the publication photography business. MPCA will address the posterity interests of photographers and encourage cooperative enforcement by providers and users of photographic images. MPCA will see technology as a benefit and a tool to be exploited, not feared. It will employ new technology to advance the interests of photographers and their clients, and fulfill this mission." [http://www.mpca.com/].
10 See Copyright Clearance Center Annual Report to Rightsholders. 1996. Available from the Copyright Clearance Center at 222 Rosewood Drive, Danvers, MA 01923.
11 See the National Writers Union Web site [http://www.nwu.org/nwu/] (1997).
12 Sal Landicina, Motion Picture Licensing Corporation, personal communication (1997).
13 F. Greguras and S.J. Wong, Software Licensing Flexibility Complements the Digital Age [http://www.globetrotter.com/art5.htm] (1994).
14 Richard Lucash, Licensing Strategies in the Global Marketplace. Materials prepared for a presentation at the Massachusetts Legal Education Seminar [http://www.lgu.com/con51.htm] (1997).
15 See Copyright Clearance Center, "Collective Copyright Licensing to Benefit Individual Photographers, Artists, and Writers," press release [http:www.copyright.com] (1997).
16 Rudy VanderLands, Copping an Attitude [http://www.emigre.com/Copping. htm] (1995); Fontworks UK Ltd. [http://www.type.co.uk/fnet/fwks/] (1996). The status of fonts as intellectual property protected under U.S. copyright law remains in dispute. For information on the legal history and basis for this dispute, and the current status of typefaces as a form of intellectual property, see the Web site of Typeright [http://www.typeright.com] (March 1998), which represents a coalition of typeface designers working "to promote typefaces as creative works and to advocate for their legal protection as intellectual property." Jack Yan, a typeface designer, also provides information on legal aspects of the dispute at his business’s Web site [http://www.jyanet.com/font-10.htm] (March 1998).
17 "Aspects in Dance," CopyRong [http://edie.cprost.sfu.ca/~jacsen7/dance.html] (January 26, 1998).
18 See
David Bearman, "New Economic Models for Administering Cultural Intellectual
Property," The Wired Museum, ed. Kathy Jones-Garmil (Washington,
D.C.: American Association of Museums, 1997), 254—259; Jennifer Trant,
"Exploring New Models for Administering Intellectual Property: The Museum
Educational Site Licensing (MESL) Project," Digital Imaging Access and
Retrieval. Papers presented at the 1996 Clinic on Library Applications of
Data Processing, March 24—26, 1997, Graduate School of Library and Information
Science, University of Illinois at Urbana—Champaign, ed. P. Bryan Heidorn
and Beth Sandore [http://www.archimuse.com/papers/ jt.illinois.html] (1996);
Kelly Frey, "Text of Intervention," Copyright Clearance Center [http://www.copyright.com]
(1997); Glen Bloom, Administering Museum Intellectual Property. A Report
Prepared for the Canadian Heritage Information Network (Ottawa: Canadian
Heritage Information Network, 1997). Available online by subscription at [http://www.chin.gc.ca/Resources/Research_Ref/Reference_Info/e_reference.
html#INTELLEC] (1997).
19 Shane Simpson, Review of Australian Copyright Collecting Societies. A Report to the Minister for Communications and the Arts and the Minister for Justice [http://www.dca.gov/au/pubs/simpson/simpson2.htm] (June 1995).
20 Besen and Kirby, Compensating Creators, 17.
21 See Barry M. Massarsky, "The Operating Dynamics Behind ASCAP, BMI and SESAC, The U.S. Performing Rights Societies," Proceedings: Technological Strategies for Protecting Intellectual Property in the Networked Multimedia Environment [http://www.cni.org/docs/ima.ip-workshop] (1994) and Ralph Blumenthal, "King of the Jingle Hunts Royalties," New York Times (April 29, 1997): B4.
22 SESAC Expands Electronic Monitoring System [http://www.sesac.com/focus1. htm#SES].
23 BMI Introduces MusicBot™ to Monitor Music on the Internet [http://www. bmi.com/reading/news/musicbot.html].
24 See Digimarc™ Web site at [http://www.digimarc.com/prod_fam.html].
25 Blumenthal, "King of the Jingle Hunts Royalties," B4.
26 "Your Rights Are Protected Worldwide," The Eye: VAGA Newsletter [n.p., n.d.].
| Chapter 5: The Structure, Function and Operation of Intellectual Property Service Providers | |
| A. Formation and Development | |
| Notes | |