i once found a bunch of my films re-edited with new soundtracks on youtube, though the person did credit me for the visuals. i wrote to them asking if they would be interested in a real, consensual collaboration but nah... no reply whatsoever. i still have no idea who or where they are & have never followed up to see if the works were removed. i have no problem sharing my work online even in light of everything that entails, and as an artist that works with appropriation, I can handle some appropriation of my work to some degree, but i would hope that they have the same respect for my material as i have for the material that i myself appropriate: please transform it and make it somehow your own so that it is no longer a simple copy of what i did.
enjoy today... Dinorah de Jesús Rodríguez Filmmaker, Artist, Writer solislandmediaworks.com On Sun, Apr 19, 2020 at 8:38 AM Dominic Angerame <dominic.anger...@gmail.com> wrote: > Thanks for this Pip. When I was Executive Director for Canyon part of my > function was to visit YouTube and others and asked them to take down films > from their site that work that Canyon distributes. > > I once found one of my films on YouTube with a soundtrack by some German > band. I asked YouTube to remove it and I check occasionally to see if any > of my own work is there. > > Thanks > > Lorie Baillie sent me a photo of Bruce at the mortuary. She had decided to > bury him and Bruce finally looked very much at peace. > > Dominic > > > > On Sat, Apr 18, 2020 at 10:06 PM FrameWorks Admin <framewo...@re-voir.com> > wrote: > >> Dear Jaime, >> >> I am interested in copyright law and recently took a course about it. >> Regarding online copyright infringement of experimental filmmakers, I can >> offer this message from Jonas Mekas to Kenneth Goldsmith, the founder of >> Ubuweb, who has been very gracious in removing films when asked by >> filmmakers or their families: >> >> February 27, 2010 >> Ken, >> It has come to my attention that you have placed on your website >> severalthanks of my films, including THE BRIG, ZEFIRO TORNA, LAST THREE >> DAYS OF ALLEN. You have done this without asking my permission, wich I >> consider irrespectful of me as a person and as author of the works you have >> placed on your website. I have no income, I am trying to survive, and any >> income that I can get from my work is VITAL to my existence and cotinuation >> of my work. I think your website is very valuable for classics of the >> past, works of deceased film-makers, etc, but I am alive and working, and >> all those works that you have appropriated are available to purchase >> through either myself or Re:Voir or Anthology. >> So I would appreciate very much if you'd remove all my works from your >> website. >> Thank you, >> Jonas Mekas >> >> Regarding classics of the past and works of deceased filmmakers, >> copyright law gives families and estates ownership and rights for a >> determined length of time. >> This link gives detailed information about how much time: >> https://www.whoishostingthis.com/resources/copyright-guide/#copyright-length >> All work in a fixed or recorded form is automatically protected by >> copyright since the Berne convention of 1988. >> Even transfers of copyright revert back to the author after 35 years, to >> protect authors who bargained away their rights. >> >> Re:Voir actively removes from YouTube any films for which we have a >> contract with the filmmaker or their family and to whom we pay royalties >> for home video sales. >> In addition we have actively fought to pursue copyright protection in the >> case of perceived infringement, for example for Isidore Isou’s daughter >> Catherine Goldstein or for Maya Deren’s heir Tavia Ito. >> Many estates are struggling to preserve and archive the work or in some >> cases to support family members. Therefore I think it is justified to pay >> them royalties that are due. >> Also the filmmakers, families or the distributor have invested heavily to >> make high quality transfers, and they are justified in recovering their >> expenses. >> It is the mission of coops and archives and distributors like Re:Voir to >> make these films available, and these are not rich institutions but >> struggling organizations whose members are mostly underpaid and overworked. >> The families are certainly not rich. Therefore we support legal streaming >> and download and make the effort to remove unauthorized copies. >> >> I hope this helps! >> Pip Chodorov >> >> >> >> >> >> On Apr 19, 2020, at 2:23 AM, jaime cleeland <ethnom...@yahoo.co.uk> >> wrote: >> >> It further promoted a discussion with the Australian filmmaker Peter >> Tammer. Who then emailed me this. Please read below and feel free >> to add your opinions. >> >> >> ---------- Forwarded message --------- >> From: *Peter Tammer* <ptamme...@gmail.com> >> >> >> Now here's my argument: one reason these films are being withdrawn from >> YouTube and other sources is that the estates of the artists are claiming >> them as "property", the same way paintings and sculptures gain value in >> monetary terms, whereas novels by great writers of the past and music >> compositions by the great composers, are free to everyone, except where >> performance, recordings and recording rights come into play. In the case of >> classical music, novels, poetry, etc... these great works are not denied to >> lovers of the arts. >> >> But in the visual art world, only the rich, or richly endowed museums, >> can hoard the work and deny access to the greater part of humanity. >> Including us who value the work for its own intrinsic value and not as >> property to be bought and sold. >> >> PT >> >> >> _______________________________________________ >> FrameWorks mailing list >> FrameWorks@jonasmekasfilms.com >> https://mailman-mail5.webfaction.com/listinfo/frameworks >> > _______________________________________________ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks >
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