LexBlog IP
NOVEMBER 4, 2022
The company is also known for producing a variety of television programs and publishing its own magazine. It provides television and radio services, film library licensing, content creation, aggregation and distribution, talent management, and digital media. The EV/EBITDA NTM ratio of Astro Malaysia Holdings Bhd.
JIPEL Copyright Blog
MARCH 14, 2022
Bridgerton is the Netflix television sensation that enraptured the United States in late 2020. However, as a Shonda Rhimes production, the television show is so much more, effortlessly weaving people of color into high society London in a reimagined history. Together, they explored the concept: What if Bridgerton was a musical ?
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The IP Law Blog
AUGUST 17, 2023
The concept of “embedding” content is not a new phenomenon. Ever since the massive explosion of content creation that gave rise to social media, content creators worldwide have utilized embedding to showcase and link users to content that otherwise would not have been as readily accessible. Aereo, Inc. ,
LexBlog IP
FEBRUARY 11, 2024
You see, when I was growing up, computers took up entire rooms and content was published on paper – books, newspapers, magazines, and yes, sometimes even broadcast on television or radio. The Internet is exponentially growing; and along with it Internet-based digital content creation. Copying was tedious.
LexBlog IP
AUGUST 17, 2023
The concept of “embedding” content is not a new phenomenon. Ever since the massive explosion of content creation that gave rise to social media, content creators worldwide have utilized embedding to showcase and link users to content that otherwise would not have been as readily accessible.
Michael Geist
APRIL 20, 2023
When they make money from these activities, social media companies must be obliged to reinvest in our creators and into local content creation. Last year, they attracted hundreds of millions of viewers. Senator Gold and the government are wrong. Section 4.1(2)
Kluwer Copyright Blog
FEBRUARY 22, 2022
This provokes the question of how we can transplant evidence gleaned from one industry to another (in Barr’s synthesis, to television). Barr makes explicit a factor we had long suspected with the skew of evidence on the Portal: the music industry is disproportionately overrepresented in empirical copyright literature.
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