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Artistic LicenseThe Philosophical Problems of Copyright and Appropriation$
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Darren Hudson Hick

Print publication date: 2017

Print ISBN-13: 9780226460109

Published to Chicago Scholarship Online: September 2017

DOI: 10.7208/chicago/9780226460383.001.0001

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PRINTED FROM CHICAGO SCHOLARSHIP ONLINE (www.chicago.universitypressscholarship.com). (c) Copyright University of Chicago Press, 2017. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use (for details see http://www.chicago.universitypressscholarship.com/page/privacy-policy).date: 21 November 2017

Authorship, Power, and Responsibility

Authorship, Power, and Responsibility

Chapter:
(p.67) Four Authorship, Power, and Responsibility
Source:
Artistic License
Author(s):

Darren Hudson Hick

Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226460383.003.0005

This chapter focuses on one of the fundamental notions central to copyright—authorship—which has been the subject of prolonged skepticism in a number of arenas. In this chapter, I outline my theory of authorship, that the author of a work is one who has and exercises the power of selecting and arranging elements as constitutive of that work—what we might broadly call the creative or authorial act. Along the way, I work to dispel arguments suggesting that there are no authors, or, alternatively, that effectively anyone having anything to do with a work is thereby an author of that work (two positions with surprisingly robust pedigrees). Case studies include Seth Grahame-Smith’s Pride and Prejudice and Zombies, Charles Dickens’s The Mystery of Edwin Drood, Sherrie Levine’s appropriation art, and the films Left Behind and Superman II.

Keywords:   authorship, power, responsibility, coauthorship, artistic practice, Seth Grahame-Smith, Charles Dickens, Sherrie Levine, Left Behind, Superman II

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