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ENTERTAINMENT LAW: LEGAL CONCEPTS AND BUSINESS PRACTICES (3d ed)
1.1 Nature of Entertainment Law
1.2 Introduction to Branches of the Entertainment Industry
1.3 Introduction to Functional Sectors of the Entertainment Industry
1.4 Structure of the Branches of the Entertainment Industry
1.4.1 Motion Pictures
1.4.1.1 Major Studios
1.4.1.1.1 Art House Divisions
1.4.1.2 Independent Films
1.4.1.3 Production
1.4.1.4 Exhibitors
1.4.1.5 Syndication
1.4.1.6 Home Video
1.4.1.7 Adult Films
1.4.2 Television
1.4.2.1 Broadcast
1.4.2.2 Cable
1.4.2.3 Satellite
1.4.3 Music
1.4.3.1 Recording
1.4.3.2 Music Publishing
1.4.3.3 Live Performance
1.4.3.3.1 Touring
1.4.3.3.2 Clubs and Bars
1.4.3.3.3 Scalping Tickets
1.4.3.3.4 Lip-Synching
1.4.3.3.5 Safety Issues
1.4.4 Radio
1.4.4.1 Terrestrial Radio
1.4.4.2 Internet Radio
1.4.4.3 Satellite Radio
1.4.4.4 Content
1.4.4.4.1 Music
1.4.4.4.2 Talk Radio
1.4.4.4.3 Variety Shows
1.4.4.4.4 News/Traffic/Sports
1.4.5 Live Theater
1.4.6
1.4.6.1 First Class/Broadway
1.4.6.2 Off Broadway
1.4.6.3 Tours
1.4.6.4 Regional Theater
1.4.6.5 Dinner Theater
1.4.6.6 Educational Theater
1.4.6.7 Alternative Revenue Streams
1.4.6.7.1 Television
1.4.6.7.2 Cable
1.4.6.7.3 Home Video
1.4.6.7.1 Merchandise
1.4.7 Print Publishing
1.4.7.1 Books
1.4.7.2 Magazines
1.4.7.3 Newspapers
1.4.8 Interactive Digital Media
1.4.8.1 Video Games
1.4.8.1.1 Developers
1.4.8.1.2 Producers
1.4.8.1.3 Publishers
1.4.8.2 On-Line Video Games
1.4.8.2.1 Regular
1.4.8.2.2 Massive
1.5 Dominant Figures in the Entertainment Industry
1.6 Media Conglomerates
1.7 Major Unions and Trade Associations
1.7.1 Motion Pictures and Television
1.7.1.1 Alliance of Motion Picture and Television Producers
1.7.1.2 American Federation of Television & Radio Artist
1.7.1.3 Association of Independent Video & Filmmakers, Inc.
1.7.1.4 Directors Guild of America
1.7.1.5 Independent Film & Television Alliance
1.7.1.6 Motion Picture Association of America
1.7.1.7 National Association of Broadcasters
1.7.1.8 Producers Guild of America
1.7.1.9 Screen Actors’ Guild
1.7.1.10 Writers’ Guild of America
1.7.2 Music Publishing
1.7.2.1 American Society of Composers, Authors and Publishers
1.7.2.2 Association of Independent Music Publishers
1.7.2.3 Broadcast Music, Incorporated
1.7.2.4 National Association of Independent Music Publishers
1.7.2.5 National Music Publishers Association
1.7.2.6 Society of Composers & Lyricists
1.7.3 Sound Recordings
1.7.3.1 American Federation of Musicians
1.7.3.2 American Guild of Musical Artists
1.7.3.3 Recording Industry Association of America
1.7.4 Live Performances
1.7.4.1 American Guild of Variety Artists
1.7.5 Radio
1.7.6 Live Theater
1.7.6.1 Actors’ Equity Association
1.7.6.2 Dramatist Guild
1.7.6.3 International Alliance of Theatrical Stage Employees
1.7.6.4 League of American Theatres & Producers
1.7.6.5 Society of Stage Directors and Choreographers
1.7.6.6 Writers’ Guild of America
1.7.7 Print Publishing
1.7.7.1 Publicists Guild
1.7.7.2 Writers’ Guild of America
1.7.8 Interactive Digital Media
1.7.8.1 Digital Media Association (“DiMA”).
1.7.8.2 Interactive Digital Software Association
1.7.9 Collective Bargaining
2 Investment in Entertainment Projects
2.1 Risk of Investment
2.2 Production Investments
2.2.1 Motion Pictures
2.2.2 Television
2.2.3 Music
2.2.3.1 Recording
2.2.3.2 Publishing
2.2.3.3 Live Performance
2.2.4 Radio
2.2.5 Live Theater
2.2.6 Print Publishing
2.2.7 Interactive Digital Media
2.3 Distribution Investments
2.3.1 Motion Pictures
2.3.1.1 Domestic/International Markets
2.3.1.2 Cinematic
2.3.1.3 Home Video
2.3.1.4 Pay-Per-View/Video-On-Demand
2.3.1.5 Pay TV
2.3.1.6 Free TV
2.3.1.7 Ancillary
2.3.2 Television
2.3.2.1 Broadcast
2.3.2.2 Cable
2.3.2.3 Satellite
2.3.2.4 International Markets
2.3.3 Music
2.3.3.1 Recording
2.3.3.2 Publishing
2.3.4 Live Theater
2.3.5 Print Publishing
2.3.5.1 Hardcover/Trade Book
2.3.5.2 Paperback Licensing
2.3.5.3 Foreign Licensing
2.3.5.4 Motion Picture/Television Licensing
2.3.5.5 eBooks
2.3.5.6 Other Media Licensing
2.3.6 Interactive Digital Media
2.3.6.1 Digital Works Original to this Media
2.3.6.2 Videogaming
2.3.6.3 Internet Content
2.3.6.4 Celebrities and New Technology Opportunities
3 Financing
3.1 Need for Access to Money
3.2 Motion Pictures
3.2.1 Studio
3.2.2 Independent
3.3 Television
3.3.1 Advertising.
3.3.1.1 Upfront ad sales.
3.3.1.2 Ratings.
3.4 Music
3.4.1 Sources of Revenue
3.5 Radio
3.6 Live Theater
3.6.1 Producers
3.6.2 Investors
3.6.3 Theater Owners
3.7 Print Publishing
3.8 Interactive Digital Media
4 Ramifications of Investment/Risk Atmosphere
4.1 Business Concerns of the Entertainment Industry
4.2 Lack of Work Opportunities and Job Security
4.3 Need for Multiple Product
4.4 Need for Mass Appeal Projects
4.5 Need for Steady Product Flow
4.6 Need to Control Rights in Multiple Territories
4.7 Need to Control Rights in Multiple Media
5 Efforts to Lower or Shift Risk
5.1 Business Practices Used to Lower Risk
5.1.1 Scientific Research
5.1.2 Expansion of Technological Markets
5.1.3 Trading on Established Goodwill
5.1.3.1 Remakes and Sequels
5.1.3.2 Transfer Goodwill From One Medium to Another
5.1.4 Imitations
5.1.5 Merchandising
5.1.5.1 Introduction
5.1.5.2 Motion Pictures
5.1.5.3 Television
5.1.5.4 Music
5.1.5.5 Radio
5.1.5.6 Live Theater
5.1.5.7 Interactive Digital Media
5.1.6 Product Placement
5.1.7 Efforts of Producer/Publisher to Ensure Project’s Success
5.2 Business Practices Used to Shift Risk
5.2.1 Advances
5.2.2 Guarantees
5.2.3 Reducing Cash Outlay
5.2.4 Delaying Investment Until Product Seen
5.2.5 Tighter Credit Terms
5.2.6 Joint Productions
5.2.7 Public Funding
6 Bankruptcy
6.1 Motion Pictures
6.2 Television
6.3 Music
6.4 Theatre
6.5 Print Publishing
7 Power of Distribution Sector
7.1 Relationship between Distributors’ Power and Investment/Risk Atmosphere
7.2 Control of Product Flow by Major Distributors
7.3 Importance to Distributors’ Access to Money
7.4 Self-Perpetuating Power
8 Practical Limits on Power of Distributors
8.1 Practical Considerations Balance Distributors’ Power
8.2 Industry Based on Creative Product
8.2.1 “Star” Power
8.2.2 Lack of Predictability
8.2.3 Need for Gestation Period
8.3 Importance of Ongoing Relationships
8.4 Importance of Countervailing Size
8.5 Impact of Technological Innovation
8.6 Obligations of Distributors and Publishers
9 Anticompetitive Practices
9.1 Legal Problems with Risk-Reducing Business Practices
9.2 Anittrust Issues
9.2.1 Introduction
9.2.2 Agreement or Behavior Eliminating Price Competition
9.2.3 Agreement or Behavior Limiting Product
9.2.4 Motion Pictures
9.2.4.1 Block Booking
9.2.4.2 Other Seller-Power Tie-Ins
9.2.4.3 Shotgun Sales
9.2.4.4 Blind Bidding
9.2.5 Television
9.2.6 Music
9.2.6.1 Monopolization of the concert industry.
9.2.7 Radio
9.2.7.1 Payola.
9.2.8 Live Theater
9.2.9 Print Publishing
9.2.10 Interactive Digital Media
10 Representing Talent
10.1 Agents
10.2 Managers
10.3 Attorneys
10.4 Labor/Management Organizations
10.4.1 Motion Pictures and Television
10.4.2 Music
10.4.3 Radio
10.4.4 Live Theater
10.4.5 Print Publishing
10.4.6 Interactive Digital Media
10.5 General Labor Law Issues
10.5.1 Discrimination
10.5.1.1 Discrimination Based on Race
10.5.1.2 Discrimination Based on Sex
10.5.1.3 Discrimination Based on Age
10.5.1.4 Discrimination Based on Physical or Mental Disabilities
10.5.2 Immigration.
11 Contract Law
11.1 Types of Contracts
11.1.1 Rights
11.1.2 Services
11.1.3 Financing
11.2 Contract Formation
11.2.1 Elements of the Contract
11.2.2 Oral Agreements
11.2.3 Contracts with Minors
11.3 Standard Contractual Provisions
11.3.1 Grant of Rights
11.3.1.1 Introduction
11.3.1.2 General Principles Governing Grant of Rights Contracts
11.3.1.3 Option Agreements
11.3.1.4 Type of Grant
11.3.1.4.1 Assignment
11.3.1.4.2 Exclusive License
11.3.1.4.3 Nonexclusive License
11.3.1.4.3.1 Implied Nonexclusive License
11.3.1.5 Territory
11.3.1.6 Media
11.3.1.6.1 New Technology Clause
11.3.1.7 Reversion of Rights
11.3.1.8 Waiver of Moral Rights
11.3.1.9 Modification Rights
11.3.2 Contract Duration
11.3.3 Delivery Requirements
11.3.4 Representations and Warranties
11.3.4.1 Introduction
11.3.4.2 Express Warranties
11.3.4.3 Implied Warranties
11.3.4.4 Statutory Warranties
11.3.5 Termination
11.3.6 Liquidated Damages
11.3.7 Indemnity
11.3.8 Accounting Clause
11.3.9 Audit Provisions
11.3.10 Force Majeure
11.3.11 Recoupment
11.3.12 Cross Collateralization
11.3.13 Credit Clause
11.3.14 Injunction Waiver
11.3.15 “Best Efforts” Clause
11.4 Contract Interpretation
11.4.1 Vagueness
11.4.2 Indefiniteness
11.4.3 Effect of Entertainment Industry Practices and Customs
11.5 Contract Performance and Breach
11.5.1 Introduction
11.5.2 Implied Covenant of Good Faith and Fair Dealing
11.5.3 Effect of Entertainment Industry Practices and Customs
11.6 Limitations on Enforcement
11.6.1 Contract Duration Limitations
11.6.1.1 Introduction
11.6.1.2 California 7 Year Rule
11.6.1.3 New York Approach
11.6.2 Bankruptcy
11.7 Remedies
11.7.1 Rescission
11.7.2 Injunctive Relief
11.7.2.1 California $9,000 Plus Rule
11.7.2.2 New York Rule
11.7.3 Damages
11.7.3.1 Prospective Damages for Breach of Entertainment Industry Agreements
11.7.3.1.1 Importance of Track Record in Proving Prospective Damages
12 First Amendment Issues
12.1 Entertainment Projects Protected Expression
12.2 Government Regulation
12.3 Prior Restraint
13 Defamation
13.1 Introduction
13.2 Defamatory Statement of Purported Fact
13.2.1 Defamation Defined
13.2.2 “Libel-Proof” Plaintiff
13.2.3 Purported Fact
13.2.3.1 Introduction
13.2.3.2 Opinion
13.2.3.3 Name-Calling, Epithets and Rhetorical Hyperbole
13.2.3.4 Humorous Statements
13.2.3.5 Fictional Works
13.2.3.6 Defamation by Implication
13.3 Falsity
13.4 Of and Concerning the Plaintiff
13.4.1 Introduction
13.4.2 No Post-Mortem Right
13.4.3 Identification of the Plaintiff
13.4.4 Identification in Works of Fiction
13.4.5 Group Libel
13.5 Published by the Defendant to a Third Party
13.6 Damage Requirements
13.6.1 Libel
13.6.2 Slander
13.7 State Law Affirmative Defenses
13.7.1 Introduction
13.7.2 SLAPP Motions
13.7.3 Statute of Limitations
13.7.3.1.1 Single Publication Rule
13.7.4 Absolute Privileges
13.7.5 Conditional Privileges
13.7.5.1 Fair Comment
13.7.5.2 Protection of Publisher’s Interest
13.7.5.3 Common Interest Privilege
13.7.5.4 Protection of the Interests of Another
13.7.6 Retraction
13.7.7 Limited Liability of Distributors
13.8 Federal Statutory Defense
13.8.1 Communications Decency Act of 1996
13.9 Constitutional Defenses
13.9.1 Introduction
13.9.2 Implication of the First Amendment
13.9.3 Fault Requirement
13.9.3.1 Introduction
13.9.3.2 Constitutional Malice
13.9.3.3 Plaintiff is Public Official
13.9.3.3.1 Definition of Public Figure
13.9.3.4 Plaintiff is a Public Figure
13.9.3.4.1 Introduction
13.9.3.4.2 All Purpose Public Figure
13.9.3.4.3 Limited Purpose Public Figure
13.9.3.4.4 Involuntary Public Figure
13.9.3.5 Plaintiff is a Private Person
13.9.4 Falsity Requirement
13.9.5 Damage Requirements
13.9.6 Enhanced Appellate Review
13.9.7 Neutral Reportage
13.10 Remedies
13.10.1 Injunctive Relief
13.10.2 Compensatory Damages
13.10.2.1 General Damages
13.10.2.2 Special Damages
13.10.3 Punitive Damages
14 Invasion of Privacy
14.1 Intrusion
14.2 Disclosure of Private Facts
14.3 False Light
14.4 Appropriation
14.5 No Post-Mortem Right to Privacy
14.6 Federal Statutory Defense
14.6.1 Communications Decency Act of 1996
14.7 Constitutional Privacy
15 Right of Publicity
15.1 Introduction
15.2 Descendability
15.2.1 Duration
15.3 Applicability to Non-Celebrities
15.4 Elements
15.5 Defenses
15.5.1 Common Law Defenses
15.5.2 Statutory Defenses
15.5.3 First Amendment Defense
15.5.4 Applicability of the Communications Decency Act Immunity
15.6 Remedies
16 General Tort Issues
16.1 Introduction
16.2 Negligence
16.3 Intentional Infliction of Emotional Distress
16.4 Negligent Infliction of Emotional Distress
16.5 Products Liability
17 Protection of Ideas
17.1 Introduction
17.2 Property Theory
17.3 Express Contracts
17.4 Implied-in-Fact Contracts
17.5 Confidential Relationship
17.6 Quasi-Contract/Unjust Enrichment
17.7 Submission Agreements
17.8 Preemption of State Law Claims
18 Copyright Law
18.1 Bases for Protection of Works under United States Copyright Law
18.2 Prerequisites for Federal Statutory Copyright Protection
18.2.1 Fixation
18.2.2 Originality
18.2.3 Expression
18.3 Copyrightable Subject Matter
18.3.1 Literary Works
18.3.2 Musical Works
18.3.3 Dramatic Works