Difference between revisions of "McDonagh (2014)"
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+ | |Name of Study=McDonagh (2014) | ||
|Author=McDonagh | |Author=McDonagh | ||
|Title=Plays, Performances and Power Struggles – Examining | |Title=Plays, Performances and Power Struggles – Examining | ||
Copyright’s ‘Integrity’ in the Field of Theatre | Copyright’s ‘Integrity’ in the Field of Theatre | ||
|Year=2014 | |Year=2014 | ||
+ | |Full Citation=McDonagh, L. (2014). Plays, Performances and Power Struggles–Examining Copyright's ‘Integrity’in the Field of Theatre. The Modern Law Review, 77(4), 533-562. | ||
|Abstract=This article explores the notion of ‘integrity’ under copyright law by analysing examples of | |Abstract=This article explores the notion of ‘integrity’ under copyright law by analysing examples of | ||
’integrity-based objections’ in the field of theatre. These objections typically involve playwrights | ’integrity-based objections’ in the field of theatre. These objections typically involve playwrights | ||
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resolving these power struggles successfully – including taking account of ‘integrity-based objections’ | resolving these power struggles successfully – including taking account of ‘integrity-based objections’ | ||
– is crucial to theatrical practice. | – is crucial to theatrical practice. | ||
− | | | + | |Cross-country=No |
+ | |Comparative=No | ||
+ | |Government or policy=No | ||
+ | |Literature review=No | ||
+ | }} | ||
+ | |Dataset= | ||
}} | }} |
Revision as of 18:53, 6 October 2016
Contents
Source Details
McDonagh (2014) | |
Title: | Plays, Performances and Power Struggles – Examining
Copyright’s ‘Integrity’ in the Field of Theatre |
Author(s): | McDonagh |
Year: | 2014 |
Citation: | McDonagh, L. (2014). Plays, Performances and Power Struggles–Examining Copyright's ‘Integrity’in the Field of Theatre. The Modern Law Review, 77(4), 533-562. |
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About the Data | |
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Cross Country Study?: | No |
Comparative Study?: | No |
Literature review?: | No |
Government or policy study?: | No |
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Abstract
This article explores the notion of ‘integrity’ under copyright law by analysing examples of ’integrity-based objections’ in the field of theatre. These objections typically involve playwrights objecting to changes being made to their copyright works by other parties, such as directors and actors. This analysis is deepened by the use of two concepts from the field of art theory – ‘aura’, as put forward by Walter Benjamin, and ‘trajectory’, as outlined by Bruno Latour and Adam Lowe. Finally, to shed further light on the issues raised, the work of Pierre Bourdieu is used to present new empirical research recently undertaken by the author in the field of UK theatre. This research demonstrates that ‘power struggles’ are a common feature of theatrical collaboration; that copyright is deeply implicated in the way such power struggles are conceived; and moreover, that resolving these power struggles successfully – including taking account of ‘integrity-based objections’ – is crucial to theatrical practice.