Showing posts with label Steamboat Willie. Show all posts
Showing posts with label Steamboat Willie. Show all posts

Wednesday, January 31, 2024

How A Mickey Mouse Horror Movie Is Releasing Only 2 Months After Disney Lost The Copyright; Screen Rant, January 31, 2024

 EIDHNE GALLAGHER, Screen Rant; How A Mickey Mouse Horror Movie Is Releasing Only 2 Months After Disney Lost The Copyright

"Mickey Mouse is one of several popular characters who have entered the public domain in the 2020s. However, this upcoming horror movie is solely focusing on the Steamboat Willie version of Mickey Mouse. While the copyright claim on Steamboat Willie has expired, Disney has not lost all their rights to their mascot. Every Mickey Mouse movie and character evolution that took place after Steamboat Willie remains protected under copyright law, and Disney will continue to use the character as a trademarked mascot."

Tuesday, January 2, 2024

'Steamboat Willie' is now in the public domain. What does that mean for Mickey Mouse?; NPR, January 1, 2024

 , NPR; 'Steamboat Willie' is now in the public domain. What does that mean for Mickey Mouse?

""You know, he's evolved so much and become more 3D and colorful," observes Ryan Harmon, a former Disney Imagineer, of the character today. He remembers anxious talk, when he worked at the company in the 1990s, about the beloved icon eventually entering the public domain.

But that's not happening, says Kembrew McLeod, a communications professor and intellectual property scholar at the University of Iowa.

"What is going into the public domain is this particular appearance in this particular film," he says.

That means people can creatively reuse only the Mickey Mouse from Steamboat Willie. Not the Mickey Mouse in the 1940 movie Fantasia. Nor the one on Mickey Mouse Clubhouse, a kids' show that aired on the Disney Channel for a decade starting in 2006.

New versions of Mickey Mouse remain under copyright. Copyright applies to creative characters, movies, books, plays, songs and more. And as it happens, Mickey Mouse is also trademarked.

"Trademark law is entirely about protecting brands, logos and names — like Mickey Mouse as a logo, or the name Mickey Mouse," McLeod says.

"And of course, trademark law has no end," adds Harvard Law School professor Ruth Okediji. Disney and other corporations, she says, use trademarks to extend control over intellectual property.""

Mickey Mouse Gets First Horror Parody Film as Steamboat Willie Enters Public Domain; CBR, January 1, 2024

JEREMY DICK, CBR ; Mickey Mouse Gets First Horror Parody Film as Steamboat Willie Enters Public Domain

"Filmmakers are not wasting any time with putting a dark spin on Mickey Mouse following the character entering the public domain.

As of Jan. 1, 2024, Mickey's very first cartoon, Steamboat Williebecame part of the public domain. While modern versions of Mickey Mouse are still protected by copyright, the classic black-and-white version seen in the Steamboat Willie cartoon is now available to be used by filmmakers outside of the Disney umbrella. On the very day that the copyright lifted for Steamboat Willie, it was announced that the character will be spoofed in an upcoming horror movie titled Mickey's Mouse Trap. The first trailer and poster have also been released for the film, which can be viewed below."

Mickey Mouse Copyright Expiration Has Internet Scrambling For Steamboat Willie Horror Movie; ScreenRant, January 1, 2024

HANNAH GEARAN , ScreenRant; Mickey Mouse Copyright Expiration Has Internet Scrambling For Steamboat Willie Horror Movie

"The copyright for a specific version of Mickey Mouse has expired, which is leaving the internet urging for a Steamboat Willie-based horror movie. Mickey Mouse first became copyrighted by the Walt Disney Company in 1928 through the movie Steamboat Willie.

At the dawn of the new year, the Steamboat Willie Mickey Mouse has entered the public domain, and the internet is pushing for a horror movie based on the character."

Monday, January 1, 2024

Mickey Mouse is finally in the public domain. Here’s what that means.; The Washington Post, January 1, 2024

 , The Washington Post; Mickey Mouse is finally in the public domain. Here’s what that means.

"Jennifer Jenkins, a law professor and director of Duke University’s Center for the Study of the Public Domain, says that from a copyright angle — trademark considerations are a different matter — “You can use Mickey and Minnie 1.0 from ‘Steamboat Willie’ and ‘Plane Crazy,’ but you cannot use the aggregated later Mickey that, for example, appears in one of my favorite films, ‘Fantasia.’ You cannot use the copyrightable aspect of the character from later, still-in-copyright works.”"

These Classic Characters Are Losing Copyright Protection. They May Never Be the Same.; The New York Times, January 1, 2024

 Sopan Deb, The New York Times; These Classic Characters Are Losing Copyright Protection. They May Never Be the Same.

"In 2024, thousands of copyrighted works published in 1928 are entering the public domain, after their 95-year term expires...

The crème de la crème of this year’s public domain class are Mickey Mouse and, of course, Minnie, or at least black-and-white versions of our favorite squeaky rodents that appeared in “Steamboat Willie.” Disney is famously litigious, and this copyright only covers the original versions of the character.

The New York Times reached out to some writers, producers and directors to give you a taste of what might be unleashed in this strange new world."

Sunday, December 31, 2023

Disney loses famous Mickey Mouse copyright in 2024, along with many others; CBS News, December 30, 2023

CBS News ; Disney loses famous Mickey Mouse copyright in 2024, along with many others

"Copyright protections on many well-known books, films and musical compositions are set to expire in 2024. Disney's Mickey Mouse is getting a lot of attention as one famous iteration of the classic mouse is set to enter the public domain. CBS News' Jo Ling Kent has the story."

Saturday, December 23, 2023

Mickey Mouse, Long a Symbol in Copyright Wars, to Enter Public Domain: ‘It’s Finally Happening’; Variety, December 22, 2023

 Gene Maddaus, Variety; Mickey Mouse, Long a Symbol in Copyright Wars, to Enter Public Domain: ‘It’s Finally Happening’

"Every Jan. 1, Jenkins celebrates Public Domain Day, publishing a long list of works that are now free for artists to remix and reimagine. This year’s list includes Tigger, who, like Mickey Mouse, made his first appearance in 1928. Other 1928 works include “Lady Chatterley’s Lover,” “All Quiet on the Western Front” and Buster Keaton’s “The Cameraman.” 

The celebrations are relatively recent. After Congress extended copyright terms in 1998, 20 years went by when nothing entered the public domain. Works began to lose copyright protection again in 2019, and since then, it’s been open season on “The Great Gatsby,” “Rhapsody in Blue” and Winnie the Pooh...

Lessig fought the extension all the way to the Supreme Court. He argued that Congress might keep granting extensions, thwarting the constitutional mandate that copyrights be “for limited times.” He lost, 7-2, but the debate helped advance the movement for Creative Commons and an appreciation for the benefits of “remix culture.”

“That movement awoke people to the essential need for balance in this,” Lessig said. “At the beginning of this fight, it was a simple battle between the pirates and the property owners. And by the end of that period, people recognized that there’s a much wider range of interests that were involved here, like education and access to knowledge.”...

He continues to support reforms that would free up a vast body of cultural output that remains inaccessible because it lacks commercial value and its ownership cannot be determined."

Original Mickey And Minnie Mouse Will Enter Public Domain Next Week—Here’s What It Means For Creators; Forbes, December 22, 2023

 Mary Whitfill Roeloffs, Forbes; Original Mickey And Minnie Mouse Will Enter Public Domain Next Week—Here’s What It Means For Creators

"Two of the most sought-after characters in film and television are set to enter the public domain on Jan. 1, which will allow creators to use the original versions of Mickey and Minnie Mouse to create new projects of any kind, likely adding to a lineup of films and books like “Winnie the Pooh: Blood and Honey” and “Pride and Prejudice and Zombies” based on other popular characters with expired copyrights."

Thursday, December 14, 2023

Disney is about to lose its decades-long battle to keep Mickey Mouse out of the public domain; Business Insider, December 14, 2023

, Business Insider; Disney is about to lose its decades-long battle to keep Mickey Mouse out of the public domain

"That 1998 law is what all copyrights operate under today. But there hasn't been another extension to the law, so starting January 1, anyone can use Steamboat Willie.

But even though the Steamboat Willie version of Mickey Mouse is entering the public domain, Disney doesn't need to be too worried about imposter Mickeys popping up around the world. 

Every time the company creates an altered version of the character, it gets copyrighted, and all modern depictions of the friendly mouse are protected, according to LUC's blog. Disney also owns trademarks on the modern incarnation of Mickey Mouse, giving the brand's mascot even more protection."

Sunday, January 8, 2023

Mickey Mouse's Impending Copyright Expiration Explained; Screen Rant, January 8, 2023

CLOTILDE CHINNICI, Screen Rant; Mickey Mouse's Impending Copyright Expiration Explained

"It seems likely that Disney will maintain its copyright over Mickey Mouse for the foreseeable future. In particular, Mickey Mouse will remain under Disney's property because it is a registered trademark. In fact, this would let Disney keep ownership of Mickey Mouse as its trademark potentially forever, thus allowing Mickey Mouse to feature in future and upcoming Disney films. Unlike copyright, which expires after a certain amount of years, trademark protection can endure in perpetuity, as long as Disney can claim that the character of Mickey Mouse is associated with the Walt Disney company itself.

Ultimately, Mickey Mouse will still to be a legally protected Disney product. The strong association between Disney and Mickey Mouse, one that the company itself has invested in, represents a strong protection for Disney as the trademark will not expire any time soon, giving Disney control over Mickey Mouse. Despite the copyright law and Steamboat Willie's copyright expiration, Disney's approval is still required for others to use Mickey Mouse material, even the one that will eventually become public domain, in anything outside of fair use, thanks to the mouse's trademark protection."

Tuesday, December 27, 2022

Mickey’s Copyright Adventure: Early Disney Creation Will Soon Be Public Property; The New York Times, December 27, 2022

, The New York Times ; Mickey’s Copyright Adventure: Early Disney Creation Will Soon Be Public Property

"Ms. Ginsburg said she was watching closely to see if Disney and other entertainment companies tried to apply trademark law as a substitute for or extension of copyright — as she put it, “apply a separate protection to get to the same place.” In a Supreme Court intellectual property case from 2003 involving 20th Century Fox, Justice Antonin Scalia, writing for the court, warned of using trademarks to generate “a species of mutant copyright law.”"

Wednesday, May 4, 2022

Hawley to introduce legislation targeting Disney copyright protections; Washington Examiner, May 2, 2022

 Zachary Halaschak, Washington Examiner ; Hawley to introduce legislation targeting Disney copyright protections

"The copyright on Disney’s classic Steamboat Willie Mickey Mouse, the first iteration of the character, is set to expire at the end of 2023, and Rep. Jim Banks (R-IN) recently wrote to Disney CEO Bob Chapek telling him that he and some other GOP lawmakers oppose “further extensions applicable” to the company’s copyrights. Banks argued those should become public domain. 

Republicans in both Florida and Washington, D.C., have been upset about Disney’s public lobbying against the Florida legislation, which is called the Parental Rights in Education bill but has been branded the “Don't Say Gay” bill by critics. The legislation bans classroom instruction of sexual orientation and gender identity through the third grade. 

Disney has successfully lobbied for copyright extensions in the past. Disney pushed for the Copyright Act of 1976 and then worked to get the Copyright Term Extension Act of 1998 signed into law. Detractors of the latter bill had branded it the “Mickey Mouse Protection Act.”...

Rep. Lauren Boebert (R-CO) also recently tweeted, “Next year, the woke Disney lobbyists will ask Congress to extend Micky Mouse’s trademark. I think not.”"

Saturday, June 26, 2010

In Documentary, Wall of Sound Meets Wall of Law; New York Times, 6/27/10

John Anderson, New York Times; In Documentary, Wall of Sound Meets Wall of Law:

"BETWEEN recording sessions here in 1973, John Lennon called Phil Spector and told him to come back down to the studio. “Someone’s ripped you off, Phil,” Mr. Lennon said. When Mr. Spector arrived, a projector had been set up, a film began to roll, several familiar drumbeats were heard and then, the wail of the Ronettes.

The song was “Be My Baby,” the movie was “Mean Streets,” and no one had told Mr. Spector anything about it.

“I said, ‘Who is this guy Skeezy?’ ” Mr. Spector recalls during “The Agony and the Ecstasy of Phil Spector,” which opens Wednesday at the Film Forum in Manhattan. “I called my lawyers, I said, ‘Kill it!’ ” Martin Scorsese had used his music without permission, and “I never give permission for anything.”

Only Lennon’s intercession stopped Mr. Spector from seeking an injunction that could have pulled the movies out of theaters. They may not have known it at the time, but Mr. Scorsese, Robert De Niro and Harvey Keitel came close to having their careers derailed by Mr. Spector — the creator of rock’s fabled “Wall of Sound,” the Svengali of the ’60s girl groups and the producer of the Beatles“Let It Be.”

The anecdote is perhaps the most startling contained in “The Agony and the Ecstasy of Phil Spector,” a documentary by Vikram Jayanti, and not only because it’s being told by a man who, for 50 years, has avoided the news media like the plague. Built around interviews at Mr. Spector’s home during his first murder trial in 2007 — he was convicted in the shooting death of the actress Lana Clarkson after a second trial in 2009 — the film employs a greatest-hits collection of 21 Spector songs, played or performed in their entirety. And it does so without having obtained Mr. Spector’s written permission. Thus the film could become the latest flashpoint in the debate over what’s generally known as fair use, and copyright law. (Fair use refers to the right, under certain circumstances, like criticism, to use copyrighted material without permission. But the exact amount one can legally use remains a murky proposition.)

Mr. Jayanti, however, isn’t expecting any legal trouble, even though Mr. Spector twice sued his (former) friend and lawyer, Robert Shapiro, to reclaim a $1 million retainer and was appeased by Mr. Scorsese only when he promised to pay for future music use.

Phil wanted the film made, he wanted the music given freely, he was cooperative about making it,” said Mr. Jayanti, who sat with Mr. Spector during most of the 2007 trial in Los Angeles.

Through a spokeswoman, Mr. Spector’s wife, Rachelle, said she hadn’t seen the film and didn’t think her husband had either. (He is serving 19 years to life at the California Substance Abuse Treatment Facility and State Prison in Corcoran.) Mr. Jayanti disagrees. “Of course he’s seen the film,” he said. “We made sure he had a copy. We gave his lawyers copies of the film. And I don’t think if he looked at it in a rational state of mind, he’d have any problem with it. I think it does what he dreamed it would do.” Namely, to rewrite the lead of his obituary: from “convicted murderer” to “musical genius.”

Anthony Wall has produced the documentary program “Arena” for nearly 35 years, out of the BBC offices at Bush House, and it was Mr. Wall who asked Mr. Jayanti to direct the Spector film. They’d previously made “James Ellroy’s Feast of Death” together. Separately Mr. Jayanti has directed films like "Game Over: Kasparov and the Machine" and was an executive producer on “When We Were Kings.”

“Running a program like this, you have your particular heroes or favorites,” Mr. Wall said. “The Top 3 for me were always Dylan, the Beatles and Phil Spector. I thought it would be difficult to get any of them, but that we’d never get Phil, because he has so resolutely refused to even give a newspaper interview. He just doesn’t do it.” The weird thing, Mr. Wall said, was that he had so few expectations, adding, “When Vikram asked me one day whether I’d actually written to him to give him the chance to say no, I hadn’t.”

Mr. Jayanti overnighted a letter to Mr. Spector and got a positive response three days later. Mr. Wall and Mr. Jayanti went to the Spectors’ home in Alhambra, Calif. — where a sign outside reads “Phil Spector’s Pyrenees Castle” — and did two days of interviews. A planned five-day shoot was interrupted by Mr. Spector’s trial preparation; a subsequent gag order on Mr. Spector ended all communication between subject and director. But Mr. Jayanti decided he had everything he needed — except, perhaps, that signed release.

For safety’s sake BBC lawyers looked at a possible fair use defense and decided the film was defensible. “It was an exploratory process that we entered into quite innocently,” Mr. Wall said.
“But what we’re looking at, in terms of it possibly being a precedent, is the law bending to reflect what’s really going on,” he said, meaning the Internet, the global marketplace and disparate views of copyright. “What we need is a new rule book. What it’s about is control, whether the Internet can be controlled, and the way our lives are controlled. It’s been a long time, after all, since ‘Steamboat Willie
.’ ”

Mr. Wall’s reference to Walt Disney’s original Mickey Mouse cartoon points up a nettlesome issue in the realm of United States copyright law: Each time the 1928 “Willie” has been poised to enter public domain, Congress has extended copyright protection. But the larger point for rights activists is whether a culture can survive without being able to feed upon itself.

“Can you imagine the original guy who told the story of King Lear?” Mr. Jayanti asked. “What if he had been able to block Shakespeare, who picked up a story that was simply in the air? I’m not saying I’m Shakespeare, or that Phil Spector is doing what Shakespeare did with King Lear, but if we don’t have the ability to harvest and process and sample our own culture, then I think the culture dries up.”

The fair use issue is close to the heart of Patricia Aufderheide, director of the Center for Social Media at American University, which has developed the Code of Best Practices in Fair-Use, a documentary-industry standard. “One of the things that is not O.K. is to use music as soundtrack, for ambience or aesthetic,” Dr. Aufderheide said. But Mr. Jayanti’s argument — that Mr. Spector’s records cannot be appreciated or assessed except in their entirety — “is a nonaesthetic, nonsoundtrack reason,” and is quite plausible, she said.

There’s another side to the issue of course. “Filmmakers pay for actors, they pay for film stock, they pay for electricity,” said Robert Clarida, a partner with Cowan, Liebowitz, Latman, who is representing the recording industry in the continuing file-sharing case Arista Records et al. v. LimeWire. “Why shouldn’t they pay for music?”

Mr. Clarida conceded the merits of fair use in some instances, but said the use of an entire work, like a song, has rarely held up and cited two relatively recent and disparate decisions, one involving Elvis Presley and the other a 1947 performance by the singer Lily Pons, used on the cable program “Classic Arts Showcase.”

Mr. Jayanti said he hopes any discussion of copyright issues doesn’t overwhelm his motivations in making the movie in the first place, namely the celebration of what Mr. Spector achieved before calamity struck, and his directorly obsession with “geniuses under duress.”

“I’ve always wanted to do two documentaries that can’t be done: Napoleon on St. Helena and the trial of Oscar Wilde,” he said. “With Phil, I got to do both.”"

http://www.nytimes.com/2010/06/27/movies/27spector.html