Merely Mechanical’
On the Origins of Photographic Copyright in France and Great Britain
Bibliographic Data
| ID | 11163686 |
|---|---|
| Authors | Anne Mccauley (Princeton University, corresponding author) |
| Year | 2008 |
| Volume | 31 |
| Issue | 1 |
| Pages | 57-78 |
| Publication date | 2008-02-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Art History (JOURNAL) |
| Journal identifiers | ISSN: 0141-6790 • E-ISSN: 1467-8365 |
| Publisher | Oxford University Press (OUP) (PUBLISHER) |
| DOI | 10.1111/j.1467-8365.2008.00583.x |
| OpenAlex | W2070708226 |
| Language | EN |
| Citations received | 6 |
| References cited | 8 |
The invention of the medium of photography and its commercialization as a cheap multiple during the 1850s and 1860s led to challenges to extant copyright laws in France and Great Britain. This paper traces the ways that debates over photographic copyright confronted current understandings of originality and mechanization and repeated arguments that had already been raised by laws governing prints and casts. The British Fine Arts Copyright Act of 1862, which extended statutory protection to all photographs, is contrasted with French cases, which struggled to accommodate photographs within the fine arts as defined by the copyright law of 1793
Art · Commercialization · Copyright Act · Copyright law · Extant taxon · Fine art · Intellectual property · Originality · Photography · Political science · Statutory law · The arts · Visual arts · Art History and Market Analysis · History · Law · Photography and Visual Culture · Visual Culture and Art Theory
The death of Chatterton, or photography and the law
Struggling with authority
Technology and Copyright in 1735
Authorship, the Academie, and the Market in Early Modern France
Knowledge is Property
Culture and the Copy
The Original, the Imitation, the Copy, and the Spontaneous Classic
Impressionism, Originality and Laissez-Faire
| Citations per year | 0.43 |
|---|---|
| Citation span | 2012 - 2024 (13) |
| Highly cited | No |