Understanding the business of entertainment: The Legal and business essentials all filmmakers should know/ Berstein, Gregory

Copyright Law
lniri)duciK>n 9
In ihc Beginning y
Whai Works Qualify iorCopyrighi Protection? 12
What Can't Be Copyrighted? 15
When DtK's Copyright Ownership Begin, and What Do You
Have to Do to Secure Copyright Ownership? 24
What Specific Rights Do Copyright Owners Receive? 25
Joint Works 10
Work for Hire 12
How Long Does Copyright Last? 11
Copyright Infringement 15
Pair Use 41
Music Copyright
introduction 55
Music and Copyright Law 56
Music Puhiishing 61
Licenses 64
Copyright and Piracy
Introduction 71
The Bftumav Case 72
Napster and Grokster 74
YouTube and the Digital Millennium Copyright Act 77
Morality and Digital Piracy 78
intemationai Copyright
The Berne Convention S >
Moral Rights 84
First Amendment Law.
Introduction 87
Lnieriainmeni and "Speech" 88
Ohsceniiy yo
SECTION 2
Indcccni Speech dl
The Iniernei and Indeeenl Speech 9")
Violence in Unteriainmeni d4
Voluntary Censorship V6
Libel and Slander
Invasion of Privacy 103
Delamaiion and Invasion of Privacy; Life Rij^his Aj;reemenls 106
Entortoinmcnt Compsnios: Growth 3nd Power
Chapter 6 The FCC and Government Regulation of the Media....
Introduction 1 17
Vertical and Horizontal Integration 1 18
The FCC: Basics 1 10
The Right to Broadcast 120
FCC Media Ownership Rules: 1034-1080 121
Film Regulation: 1034-1080 123
TV and Film Regulation Since 1080 123
Regulation: Where We Are Ti>day 126
Chapter 7 Media Growth and Ownership
Introduction 127
Film. The First Few Decades 128
The tZarly Days ol Radio and Television 132
Media Conglomeration 1 3=5
Media Ownership Today 14T
The impact ol Media Conglomeration 146
Chapter 8 Unions, Agents and Managers
SECTION 3
Lntertainment Unions 133
Agents and Managers 163
What Studios Do
Chapter 9 Development
Choosing Ideas 173
Stiulio Film Development 170
Television Development 181
Some Thoughts About Development Hell 183
The Lntl ol Develo|-)ment 184
Which Studio Departments Manage Development? 183
Production and Post-Production: The Filmmakers
Takeover 187
Chapter IQ Distribution
hitroduction 101
IHeCost of Film IXstrihiition lOj
SECTION 4
Distribution Slrateg)' 193
Distribution Personnel and Activities 194
Following the Money 19*5
The Impact of High Distribution Costs 197
Television Distribution 199
Inlernet Distribution 204
Other Studio Departments 204
Money and Contracts 209
A Few Words About the Negotiating Process 210
Chapter 11 Gross and Net Proceeds 213
Introduction 213
Film Accounting: When is a Film "Profitable"? 213
Gross Proceeds and Net Proceeds 214
Chapter 12 Entertainment Contracts 227
Introduction 227
Rights Agreements: Option/Purchase Contracts 227
Agreements for Screenwriters 239
Agreements for Directors 244
Agreements for Actors 249
Agreements for Producers 252
Chapter 13 independent Film Development, Financing,
SECTION 5
Contracts and Distribution 263
Introduction 263
Development 263
Film Financing 264
Television Financing 268
Negotiating Contracts with Independent Filmmakers 269
Film Distribution 270
Film Finance and Distribution Deals 271
Voices 277
Chapter 14 Making It Into the Business 279
Michael Por>'es 279
Cynthia Kanncr 281
Mike Knobloch 284
Hamilton Sterling 287
Dana Lustig 290
Maureen Tunncy 293