Understanding the business of entertainment: The Legal and business essentials all filmmakers should know/ (Record no. 190291)
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| 000 -LEADER | |
|---|---|
| fixed length control field | 03664nam a2200133Ia 4500 |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER | |
| International Standard Book Number | 9781138446432 |
| 040 ## - CATALOGING SOURCE | |
| Transcribing agency | CUS |
| 082 ## - DEWEY DECIMAL CLASSIFICATION NUMBER | |
| Classification number | 384.80973 |
| Item number | BER/U |
| 245 #0 - TITLE STATEMENT | |
| Title | Understanding the business of entertainment: The Legal and business essentials all filmmakers should know/ |
| Statement of responsibility, etc. | Berstein, Gregory |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. (IMPRINT) | |
| Place of publication, distribution, etc. | New York: |
| Name of publisher, distributor, etc. | Focal Press, |
| Date of publication, distribution, etc. | 2015. |
| 300 ## - PHYSICAL DESCRIPTION | |
| Extent | 313 p. |
| 505 ## - FORMATTED CONTENTS NOTE | |
| Formatted contents note | Copyright Law<br/>lniri)duciK>n 9<br/>In ihc Beginning y<br/>Whai Works Qualify iorCopyrighi Protection? 12<br/>What Can't Be Copyrighted? 15<br/>When DtK's Copyright Ownership Begin, and What Do You<br/>Have to Do to Secure Copyright Ownership? 24<br/>What Specific Rights Do Copyright Owners Receive? 25<br/>Joint Works 10<br/>Work for Hire 12<br/>How Long Does Copyright Last? 11<br/>Copyright Infringement 15<br/>Pair Use 41<br/>Music Copyright<br/>introduction 55<br/>Music and Copyright Law 56<br/>Music Puhiishing 61<br/>Licenses 64<br/>Copyright and Piracy<br/>Introduction 71<br/>The Bftumav Case 72<br/>Napster and Grokster 74<br/>YouTube and the Digital Millennium Copyright Act 77<br/>Morality and Digital Piracy 78<br/>intemationai Copyright<br/>The Berne Convention S ><br/>Moral Rights 84<br/>First Amendment Law.<br/>Introduction 87<br/>Lnieriainmeni and "Speech" 88<br/>Ohsceniiy yo<br/>SECTION 2<br/>Indcccni Speech dl<br/>The Iniernei and Indeeenl Speech 9")<br/>Violence in Unteriainmeni d4<br/>Voluntary Censorship V6<br/>Libel and Slander<br/>Invasion of Privacy 103<br/>Delamaiion and Invasion of Privacy; Life Rij^his Aj;reemenls 106<br/>Entortoinmcnt Compsnios: Growth 3nd Power<br/>Chapter 6 The FCC and Government Regulation of the Media....<br/>Introduction 1 17<br/>Vertical and Horizontal Integration 1 18<br/>The FCC: Basics 1 10<br/>The Right to Broadcast 120<br/>FCC Media Ownership Rules: 1034-1080 121<br/>Film Regulation: 1034-1080 123<br/>TV and Film Regulation Since 1080 123<br/>Regulation: Where We Are Ti>day 126<br/>Chapter 7 Media Growth and Ownership<br/>Introduction 127<br/>Film. The First Few Decades 128<br/>The tZarly Days ol Radio and Television 132<br/>Media Conglomeration 1 3=5<br/>Media Ownership Today 14T<br/>The impact ol Media Conglomeration 146<br/>Chapter 8 Unions, Agents and Managers<br/>SECTION 3<br/>Lntertainment Unions 133<br/>Agents and Managers 163<br/>What Studios Do<br/>Chapter 9 Development<br/>Choosing Ideas 173<br/>Stiulio Film Development 170<br/>Television Development 181<br/>Some Thoughts About Development Hell 183<br/>The Lntl ol Develo|-)ment 184<br/>Which Studio Departments Manage Development? 183<br/>Production and Post-Production: The Filmmakers<br/>Takeover 187<br/>Chapter IQ Distribution<br/>hitroduction 101<br/>IHeCost of Film IXstrihiition lOj<br/>SECTION 4<br/>Distribution Slrateg)' 193<br/>Distribution Personnel and Activities 194<br/>Following the Money 19*5<br/>The Impact of High Distribution Costs 197<br/>Television Distribution 199<br/>Inlernet Distribution 204<br/>Other Studio Departments 204<br/>Money and Contracts 209<br/>A Few Words About the Negotiating Process 210<br/>Chapter 11 Gross and Net Proceeds 213<br/>Introduction 213<br/>Film Accounting: When is a Film "Profitable"? 213<br/>Gross Proceeds and Net Proceeds 214<br/>Chapter 12 Entertainment Contracts 227<br/>Introduction 227<br/>Rights Agreements: Option/Purchase Contracts 227<br/>Agreements for Screenwriters 239<br/>Agreements for Directors 244<br/>Agreements for Actors 249<br/>Agreements for Producers 252<br/>Chapter 13 independent Film Development, Financing,<br/>SECTION 5<br/>Contracts and Distribution 263<br/>Introduction 263<br/>Development 263<br/>Film Financing 264<br/>Television Financing 268<br/>Negotiating Contracts with Independent Filmmakers 269<br/>Film Distribution 270<br/>Film Finance and Distribution Deals 271<br/>Voices 277<br/>Chapter 14 Making It Into the Business 279<br/>Michael Por>'es 279<br/>Cynthia Kanncr 281<br/>Mike Knobloch 284<br/>Hamilton Sterling 287<br/>Dana Lustig 290<br/>Maureen Tunncy 293 |
| 942 ## - ADDED ENTRY ELEMENTS (KOHA) | |
| Koha item type | AC Sinha Collection |
| Withdrawn status | Lost status | Damaged status | Not for loan | Home library | Current library | Shelving location | Date acquired | Full call number | Accession number | Date last seen | Date last checked out | Koha item type |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Central Library, Sikkim University | Central Library, Sikkim University | General Book Section | 15/09/2016 | 384.80973 BER/U | 044918 | 10/07/2018 | 10/07/2018 | General Books |