280 pages

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Authors and Apparatus , livre ebook

Cornell University Press - Monika Dommann ,
traduit par Sarah Pybus

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280 pages

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Copyright is under siege. From file sharing to vast library scanning projects, new technologies, actors, and attitudes toward intellectual property threaten the value of creative work. However, while digital media and the Internet have made making and sharing perfect copies of original works almost effortless, debates about protecting authors' rights are nothing new. In this sweeping account of the evolution of copyright law since the mid-nineteenth century, Monika Dommann explores how radical media changes-from sheet music and phonographs to photocopiers and networked information systems-have challenged and transformed legal and cultural concept of authors' rights.Dommann provides a critical transatlantic perspective on developments in copyright law and mechanical reproduction of words and music, charting how artists, media companies, and lawmakers in the United States and western Europe approached the complex tangle of technological innovation, intellectual property, and consumer interests. From the seemingly innocuous music box, invented around 1800, to BASF's magnetic tapes and Xerox machines, she demonstrates how copyright has been continuously destabilized by emerging technologies, requiring new legal norms to regulate commercial and private copying practices. Without minimizing digital media's radical disruption to notions of intellectual property, Dommann uncovers the deep historical roots of the conflict between copyright and media-a story that can inform present-day debates over the legal protection of authorship.

Sujets

Media studies

Legal history

Sociologie, société et politique

Informations

Publié par	Cornell University Press
Date de parution	15 mars 2019
Nombre de lectures	0
EAN13	9781501734984
Langue	English
Poids de l'ouvrage	9 Mo

Informations légales : prix de location à la page 0,7500€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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AUTHORS AND APPARATUS

AUTHORS ANDAPPARATUS

A ME DI A HI STORY OF COPY RI GHT

M o n i k a D o m m a n n

Translated from the German by Sarah Pybus

CORNELL UNIVERSITY PRESS Ithaca and London

Originally published as:Autoren und Apparate. Die Geschichte des Copyrights im Medienwandel.© S. Fischer Verlag GmbH, Frankfurt am Main 2014. English-language translation copyright © 2019 S. Fischer Verlag GmbH.

The translation of this work was funded by Geisteswissen-schaften International—Translation Funding for Humani-ties and Social Sciences from Germany, a joint initiative of the Fritz Thyssen Foundation, the German Federal Foreign Office, the collecting society VG WORT and the German Publishers & Booksellers Association. All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850. Visit our website at cornellpress.cornell.edu. English-languageeditionfirstpublished2019byCornellUniversity Press Printed in the United States of America Library of Congress Cataloging-in-Publication Data

Names: Dommann, Monika, author | Pybus, Sarah, translator. Title: Authors and apparatus : a media history of copyright / Monika Dommann; translated from the German by Sarah Pybus. Other titles: Autoren und Apparate. English Description: Ithaca [New York] : Cornell University Press, 2019. | Translation of: Autoren und Apparate : die Geschichte des Copyrights im Medienwandel. | Includes bibliographical references and index. Identifiers: LCCN 2018047444 (print) | LCCN 2018048278 (ebook) | ISBN 9781501734984 (pdf ) | ISBN 9781501734991 (epub/mobi) | ISBN 9781501709920 (cloth: alk. paper) Subjects: LCSH: Copyright—History. | Copyright— Germany—History. | Mass media—History. Classification: LCC K1420.5 (ebook) | LCC K1420.5 .D6613 2019 (print) | DDC 346.04/82—dc23 LC record available at https://lccn.loc.gov/2018047444

CO N T E N T S

List of Illustrations vii Acknowledgments ix List of Abbreviations xi

Introduction: A Media History of Legal Norms 1 Pa r t I : W r i t i n g a n d R e co r d i n g 1. Sheet Music 17 2. Images of Books 29 3. Voice Recorders 40 4. Canned Music 54 Pa r t I I : Co l l e c t i n g A g e n c i e s a n d R e s e a r c h M at e r i a l s 5. Collecting Collectives 69 6. Celluloid Circulations 85 7. Performing Artists 105

Pa r t I I I : P r i vat e Co p i e s a n d U n i ve r s a l Sta n d a r d s 8. Fees for Devices 9. Flow of Information 10. Authors of Tradition Conclusion: Legal Histories of Media Transformation

133 149 169

180

viCONTENTS

Further Reading: Bibliographic Essay Notes Bibliography Index

189 193 227 257

IL L U S T R AT I O N S

1. The birth of the photocopy in editorial studies: Mirror prism and book, 1906. 2. Caruso or gramophone, no difference! Advertisement for Caruso recordings, 1908. 3. The beginnings of technological copy protection: Characteristic lines to warn against imitation records, 1908. 4. BBC as a factor in royalty payouts: Radio department at the Performing Right Society, 1940s. 5. Royalties rolling off the calculator: Electric calculating machines analyzing programs, Performing Right Society, 1930s. 6. The Photo Copie GmbH branch network in Berlin, around 1936. 7. Machines as office aids: Rectigraph brochure, U.S., 1930s. 8. Alternative to letterpress printing? Dexigraph, U.S., 1930s 9. Alternative to books? Fiskoscope, U.S., 1930s. 10. Twelve years of theNew York Timesin a few card index boxes: U.S., 1942. 11.The Murder of Music: ASCAP pamphlet, U.S., 1933. 12a–f. A graphic entrance into the radio war: ASCAP pamphlet, U.S., 1933. 13. ASCAP as visible hand:ASCAP Journal, U.S., 1937. 14a–f. Fighting ASCAP with cartoons: Pamphlet from the National Association of Broadcasters, U.S., 1941. 15. Women, man, alcohol, and a magnetic tape recorder: Grundig advert for the TK 14, Germany, 1962. 16. American cowboys and German synthetics: BASF brochure, Germany, 1960. 17. Tapes on the shelves of the economic miracle generation: Philips advertisement, UK, 1958.

86 88 92 93

96 117

120 122

123

136

142

144

vii

viiiI LLUSTRATI ONS

18. Keep Your Eye on Grundig: Tape recorders for the global market. Grundig advertisement, UK, 1962. 19. Don’t buy an office copying machine! Borrow ours! Brochure for the Xerox 914, U.S., around 1962. 20a–d. Magazine copies for the free flow of information: The reproduction service at the National Library of Health, Bethesda, Maryland. U.S.

147

154

156

AC K N O W L E D G M E N T S

Authors have no rights, only duties. —JeanLuc Godard,Tagesanzeiger, November 30, 2010

This book was created during a long journey into a foreign world of chic mahogany and marble libraries, wellordered yet confusing mountains of paper, and an unfamiliar language to which I remain unaccustomed. I first thank the many librarians and archivists who, through persistence and imagination, allowed me access to the treasures in their care. I cannot mention them all, and so I thank Stephen Gray of PRS for Music and Ray Brewer of the Xerox Historical Archives, who dug up images from the bygone material culture of office technology. I thank my colleagues at the Forschungsstelle für Sozial und Wirtschaftsgeschichte (Research Center for Social and Economic History) and the Historisches Seminar (Department of History) at the University of Zurich; the Internationales Forschungszen trum Kulturwissenschaften (IFK; International Research Center for Cultural Studies) in Vienna; the German Historical Institute in Washington, DC; the MaxPlanckInstitut für Wissenschaftsgeschichte (MPIWG; Max Planck Institute for the History of Science) in Berlin, the Department for Art His tory and Communication Studies at McGill University in Montreal; and the Department of History at the University of Basel for answering ques tions, for their friendship, patience, and grants—and for their impatience, too. I would not have been able to write this book without the financial support of the University of Zurich, the Swiss National Science Foundation, the International Research Center for Cultural Studies in Vienna, and the German Historical Institute in Washington, D.C. I thank Jörg Fisch, Philipp Sarasin, and Tristan Weddigen for their valuable comments on my habilita tion dissertation, submitted to the University of Zurich in 2011. I also thank Jakob Tanner for his absolute trust, even in times of radio silence and when my work came to a standstill. I am also indebted to Caroline Arni, Darin Bar ney, Regula Bochsler, Lorraine Daston, Christoph Graber, Valentin Gröbner, Michael Guggenheim, Michael Hagner, Vinzenz Hediger, Anke Hees, Ute Holl, Michael Hutter, Angelika Linke, Peter Passett, Regula Rapp, Alexan dra Schneider, Karin Schraner, and Andrea Westermann. My thanks go to Alexander Roesler, for reading the book with curiosity and consideration,