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The Economist Weighs In For Shorter Copyright Terms
lxmota writes "The Economist says that long copyright terms are hindering creativity, and that shortening them is the way to go: 'Largely thanks to the entertainment industry's lawyers and lobbyists, copyright's scope and duration have vastly increased. In America, copyright holders get 95 years' protection as a result of an extension granted in 1998, derided by critics as the "Mickey Mouse Protection Act." They are now calling for even greater protection, and there have been efforts to introduce similar terms in Europe. Such arguments should be resisted: it is time to tip the balance back.'"
The biggest and most important achievements in science and art happened before the existence of copyright and patent laws.
To tell people that they cannot freely share the ideas of another person for one hundred years...it just seems to fly in the face of advancement. People act as if not paying money to someone for a hundred years will make art and music disappear.
If 14 years was considered an adequate amount of time to capitalize on an idea back then, before the days of speedy digital distribution (and speedy analog distribution!), why is it so long now?
Considering that much of Disney's stuff is a knockoff of earlier works that are out of copyright, I don't see your point of view as having much validity. Second, this whole "lock it up for eons" mentality has spread beyond copyright - there has been talk of incorporating patents on things like plots or the very subject matter of a given story. This whole ownership thing is WAY out of hand.
Ironically, today's technology offers copyright holders means of distribution (opportunity to make money) that FAR exceed what was available when copyright was first enacted. So to be fair, what do they do...demand longer copyrights? No, they should be feel lucky that the term of a copyright hasn't been reduced. I don't think it was ever the intent of copyright to provide for multi-generational revenue streams.
I never read anything useful in The Economist.
There are a number of reasons for this that I find plausible. Here are two:
1. You are very well-versed on the topics covered by The Economist that you have read. This is very likely true in this specific case, as our community is very sensitive to copyright law and history. The Economist, while targeting a highly educated audience, must sometimes seek common ground even among such heady heights. Copyright is a topic most people have not considered so deeply; so even the brightest of those outside our community are likely to require a more elementary starting point than we.
2. You have read a few articles here and there in The Economist, but have rarely read entire issues. The Economist covers such a broad range of matters -- so many things touch the global economy -- that it is easy to find many articles which are of little use to any given individual. In my case I find the majority of their articles to be, while well researched and written, relatively uninteresting to me. In such a broad space there is bound to be a great deal of chaff relative to each reader's mind.
A possibility that I find extremely implausible is that The Economist is, in fact, utterly lacking in significant content. I say this based on the variety of people I know who find it to be one of the few truly substantial periodicals. Off the top of my head, there's a couple Ivy League grads, a PhD computer scientist, a PhD candidate in some field of biology, and three college drop-outs who are nonetheless among the smartest people I know.
All of which is to say; I can completely understand that you may have found some articles you have read to be shallower than your own knowledge of their topic space (assuming you are fairly astute regarding said space), and others that covered a subject you found inconsequential. I think it is unlikely, however, that the magazine is objectively and entirely mere fluff.
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The one thing that makes absolutely no sense in all this is that copyright gets extended when new laws come out.
Suppose that copyright is now 50 years. Now supposing that the government thinks that say 100 years is a more optimal time period for copyright. They write a law which changes the time period for copyright law.
Why do the copyright end dates for those works already under copyright change? There is no reason for them to. There is no way that the new law is going to affect whether or not people 50 years ago write more books and music. But clearly the government seems to think that if they keep pushing the date back on existing copyright that they will reach some point where the financial incentive of the new law will convince the Beatles to write another album back in the 1960s. Perhaps they believe that we will soon have time traveling agents, who can inform the artists of the past of their rights.
So who is the guardian of snow white?
Jack Horner?
The 9 tailed demon fox?
The skin walkers of indian lore?
Pride and Prejudice?
"Fables" comic book (which is excellent) wouldn't even exist if all the characters in it were locked up. and it's an excellent *new* creation.
When did our culture become the exclusive property of "royal" families?
She was like chocolate when she drank... semi-sweet at first and then increasingly bitter.
All that would do is give Disney and large corporations copyright in perpetuity. That is, forever. They would love this even more. Compare that to an artist who can't afford the filing fees, or simply forgets, or a photographer who isn't going to file extension applications for 10,000 photos. They lose. Disney wins. Corporations are Supercitizens. They live forever. People don't. People have moral and civic obligations. Corporations can instead argue they're "looking after their shareholders." Copyright laws need to be adjusted to recognise that supercitizens don't deserve copyright above and beyond that of normal citizens.
You say this, and then you follow it up with an example of two authors who died, and are thus bereft of all control over their works. Why should people who did NOT write the works (okay, Christopher Tolkien might be given latitude here) ever be given control over the copyrights, especially in an age where that copyright is becoming ever more perpetual?
Mitchell didn't want a sequel written. Tough. Given her feelings, we can consider her lucky that she didn't live to see it. The Tolkien estate is protecting the legacy of the literature. Good on them. But like the works of literature before them — some of which were the basis of other, later, better works — these works will eventually fall into the public domain, and anyone can do anything with them. I, for one, am not willing to extend copyright until the heat death of the Universe (plus 70 years) to prevent it.
"I guess the moral of the story is, don't paint your airship with rocket fuel." -- Addison Bain
For example, my sister was very upset that someone wrote a sequel to Gone With the Wind, because the original author didn't want a sequel to be written (it was written after her death).
That's not a sequel and shouldn't be treated as such. It's fan fiction, and I don't see anything wrong with it as long as it's not marketed as canon. From an "official" point of view, it doesn't exist.
I think this is related to the fact that in our culture we really don't like plagiarism.
Plagiarism would be if she wrote a different ending to the story, and published the whole as her own. Meanwhile, did you stop to consider the artistic qualities of the sequel?
See, that's exactly the problem with copyright debates: you're treating the right to use ideas, the right to modify existing works and the right to distribute existing works as one inseparable topic.
I think this is related to the fact that in our culture we really don't like plagiarism.
The continued economic success of Disney makes me inclined to believe otherwise. The vast majority of their content is ripped directly from Aesop, Hans Christian Andersen, Brothers Grimm, and others. Occasionally, they even plagiarize more modern content, like Kimba, the White Lion.
http://en.wikipedia.org/wiki/Kimba_the_White_Lion
Otherwise you can forget reforming copyright law. I am not sure of the best argument for this, maybe someone else can think of a convincing one.
"The Congress shall have Power ... To promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries"
Why didn't the drafters add in: ... To promote Warmth and Welfare of the Populace, by securing for limited Times to Citizens and Free Peoples the exclusive Right to the Shirts on their Backs"
"The Congress shall have Power
The second version sounds absolutely ridiculous, because, unlike ideas, we actually own our clothing. The founding fathers understood that publishing an idea is like pissing in the ocean. Once you decide to do that, you can't get it back...it's not your piss anymore; you don't own it.
TJ's thoughts on the matter:
http://press-pubs.uchicago.edu/founders/documents/a1_8_8s12.html
I don't believe retarded notions such as "offical" keepers of fictional characters eg. tolkien, should be pandered to or encourged.
this idea that the author some how controls the works from beyond the grave is equally stupid, and deserves a bigger slap in the head.
20 year copyright terms were more then generous, if you haven't milked every drop of profit from a work in 20 years, your an incompetent fool who deserves to be driven out of business.
If you mod me down, I will become more powerful than you can imagine....
Traditionally supporters of long copyrights have claimed that unless the copyrights were for substantial amounts of time there would be no incentive to create (a similar arguments is made for patents, etc). Well, the other side of it is that if a company is continually reaping revenue from a copyright what's the motivation to create again? Giving people an opportunity to reap a just reward is one thing but ensuring them an entitlement is quite another. Reward is a great motivator but ruin is as well. Innovate or die.