LEADER 04380nam 22007454a 450 001 9910449941003321 005 20200520144314.0 010 $a1-280-46288-4 010 $a9786610462889 010 $a0-8135-3785-1 024 7 $a10.36019/9780813537856 035 $a(CKB)1000000000246497 035 $a(EBL)977462 035 $a(OCoLC)806204724 035 $a(SSID)ssj0000271447 035 $a(PQKBManifestationID)11253778 035 $a(PQKBTitleCode)TC0000271447 035 $a(PQKBWorkID)10280619 035 $a(PQKB)11270141 035 $a(MiAaPQ)EBC977462 035 $a(OCoLC)64187782 035 $a(MdBmJHUP)muse21383 035 $a(DE-B1597)526514 035 $a(DE-B1597)9780813537856 035 $a(Au-PeEL)EBL977462 035 $a(CaPaEBR)ebr10114304 035 $a(CaONFJC)MIL46288 035 $a(EXLCZ)991000000000246497 100 $a20040913d2005 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aWho owns culture?$b[electronic resource] $eappropriation and authenticity in American law /$fSusan Scafidi 210 $aNew Brunswick, N.J. $cRutgers University Press$dc2005 215 $a1 online resource (221 p.) 225 1 $aRutgers series on the public life of the arts 300 $aDescription based upon print version of record. 311 $a0-8135-3606-5 311 $a0-8135-3605-7 320 $aIncludes bibliographical references (p. 163-188) and index. 327 $aThe commodification of culture -- Ownership of intagible property -- Cultural products as accidental property -- Categorizing cultural products -- Claiming community ownership via authenticity -- Family feuds -- Outsider appropriation -- Misappropriation and the destruction of value(s) -- Permissive appropriation -- Reverse appropriation of intellectual properties and celebrity personae -- Civic role of cultural products -- An emerging legal framework. 330 $aIt is not uncommon for white suburban youths to perform rap music, for New York fashion designers to ransack the world's closets for inspiration, or for Euro-American authors to adopt the voice of a geisha or shaman. But who really owns these art forms? Is it the community in which they were originally generated, or the culture that has absorbed them? While claims of authenticity or quality may prompt some consumers to seek cultural products at their source, the communities of origin are generally unable to exclude copyists through legal action. Like other works of unincorporated group authorship, cultural products lack protection under our system of intellectual property law. But is this legal vacuum an injustice, the lifeblood of American culture, a historical oversight, a result of administrative incapacity, or all of the above? Who Owns Culture? offers the first comprehensive analysis of cultural authorship and appropriation within American law. From indigenous art to Linux, Susan Scafidi takes the reader on a tour of the no-man's-land between law and culture, pausing to ask: What prompts us to offer legal protection to works of literature, but not folklore? What does it mean for a creation to belong to a community, especially a diffuse or fractured one? And is our national culture the product of Yankee ingenuity or cultural kleptomania? Providing new insights to communal authorship, cultural appropriation, intellectual property law, and the formation of American culture, this innovative and accessible guide greatly enriches future legal understanding of cultural production. 410 0$aRutgers series on the public life of the arts. 606 $aIntellectual property$zUnited States 606 $aMaterial culture$zUnited States 606 $aFolklore$zUnited States 606 $aCulture and law 606 $aIndigenous peoples$xLegal status, laws, etc$zUnited States 608 $aElectronic books. 615 0$aIntellectual property 615 0$aMaterial culture 615 0$aFolklore 615 0$aCulture and law. 615 0$aIndigenous peoples$xLegal status, laws, etc. 676 $a346.7304/8 700 $aScafidi$b Susan$f1968-$01032357 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910449941003321 996 $aWho owns culture$92450155 997 $aUNINA