Copyright is a legal right, existing in many countries, that grants the creator of an original work exclusive rights to determine whether, under what conditions, this original work may be used by others. This is only for a limited time. Copyright is one of two types of intellectual property rights, the other is industrial property rights; the exclusive rights are not absolute but limited by limitations and exceptions to copyright law, including fair use. A major limitation on copyright on ideas is that copyright protects only the original expression of ideas, not the underlying ideas themselves. Copyright is applicable to certain forms of creative work. Some, but not all jurisdictions require "fixing" copyrighted works in a tangible form, it is shared among multiple authors, each of whom holds a set of rights to use or license the work, who are referred to as rights holders. These rights include reproduction, control over derivative works, public performance, moral rights such as attribution. Copyrights can be granted by public law and are in that case considered "territorial rights".
This means that copyrights granted by the law of a certain state, do not extend beyond the territory of that specific jurisdiction. Copyrights of this type vary by country; the public law duration of a copyright expires 50 to 100 years after the creator dies, depending on the jurisdiction. Some countries require certain copyright formalities to establishing copyright, others recognize copyright in any completed work, without formal registration. Copyright is enforced as a civil matter, though some jurisdictions do apply criminal sanctions. Most jurisdictions recognize copyright limitations, allowing "fair" exceptions to the creator's exclusivity of copyright and giving users certain rights; the development of digital media and computer network technologies have prompted reinterpretation of these exceptions, introduced new difficulties in enforcing copyright, inspired additional challenges to the philosophical basis of copyright law. Businesses with great economic dependence upon copyright, such as those in the music business, have advocated the extension and expansion of copyright and sought additional legal and technological enforcement.
Copyright licenses can be granted by those deputized by the original claimant, private companies may request this as a condition of doing business with them. Services of internet platform providers like YouTube, GitHub, DropBox, WhatsApp or Twitter only can be used when users grant the platform provider beforehand the right to co-use all uploaded content, including all material exchanged per email, chat or cloud-storage; these copyrights only apply for the firm that operates such a platform, no matter in what jurisdiction the platform-services are being offered. Private companies in general do not recognize exceptions or give users more rights than the right to use the platform according certain rules. Copyright came about with wider literacy; as a legal concept, its origins in Britain were from a reaction to printers' monopolies at the beginning of the 18th century. The English Parliament was concerned about the unregulated copying of books and passed the Licensing of the Press Act 1662, which established a register of licensed books and required a copy to be deposited with the Stationers' Company continuing the licensing of material that had long been in effect.
Copyright laws allow products of creative human activities, such as literary and artistic production, to be preferentially exploited and thus incentivized. Different cultural attitudes, social organizations, economic models and legal frameworks are seen to account for why copyright emerged in Europe and not, for example, in Asia. In the Middle Ages in Europe, there was a lack of any concept of literary property due to the general relations of production, the specific organization of literary production and the role of culture in society; the latter refers to the tendency of oral societies, such as that of Europe in the medieval period, to view knowledge as the product and expression of the collective, rather than to see it as individual property. However, with copyright laws, intellectual production comes to be seen as a product of an individual, with attendant rights; the most significant point is that patent and copyright laws support the expansion of the range of creative human activities that can be commodified.
This parallels the ways in which capitalism led to the commodification of many aspects of social life that earlier had no monetary or economic value per se. Copyright has grown from a legal concept regulating copying rights in the publishing of books and maps to one with a significant effect on nearly every modern industry, covering such items as sound recordings, photographs and architectural works. Seen as the first real copyright law, the 1709 British Statute of Anne gave the publishers rights for a fixed period, after which the copyright expired; the act alluded to individual rights of the artist. It began, "Whereas Printers and other Persons, have of late taken the Liberty of Printing... Books, other Writings, without the Consent of the Authors... to their great Detriment, too to the Ruin of them and their Families:". A right to benefit financially from the work is articulated, court rulings and legislation have recognized a right to control the work, such as ensuring that the integrity of it is preserved.
Marie-Georges-Jean Méliès, known as Georges Méliès, was a French illusionist and film director who led many technical and narrative developments in the earliest days of cinema. Méliès was well-known for the use of special effects, popularizing such techniques as substitution splices, multiple exposures, time-lapse photography and hand-painted colour, he was one of the first filmmakers to use storyboards. His films include A Trip to the Moon and The Impossible Voyage, both involving strange, surreal journeys somewhat in the style of Jules Verne, are considered among the most important early science fiction films, though their approach is closer to fantasy. Marie-Georges-Jean Méliès was born 8 December 1861 in Paris, son of Jean-Louis-Stanislas Méliès and his Dutch wife, Johannah-Catherine Schuering, his father had moved to Paris in 1843 as a journeyman shoemaker and began working at a boot factory, where he met Méliès' mother. Johannah-Catherine's father had been the official bootmaker of the Dutch court before a fire ruined his business.
She helped to educate Jean-Louis-Stanislas. The two married, founded a high-quality boot factory on the Boulevard Saint-Martin, had sons Henri and Gaston. Georges Méliès attended the Lycée Michelet from age seven until it was bombed during the Franco-Prussian War. In his memoirs, Méliès emphasised his formal, classical education, in contrast to accusations early in his career that most filmmakers had been "illiterates incapable of producing anything artistic." However, he acknowledged that his creative instincts outweighed intellectual ones: "The artistic passion was too strong for him, while he would ponder a French composition or Latin verse, his pen mechanically sketched portraits or caricatures of his professors or classmates, if not some fantasy palace or an original landscape that had the look of a theatre set." Disciplined by teachers for covering his notebooks and textbooks with drawings, young Georges began building cardboard puppet theatres at age ten and moved on to craft more sophisticated marionettes as a teenager.
Méliès graduated from the Lycée with a baccalauréat in 1880. After completing his education, Méliès joined his brothers in the family shoe business, where he learned how to sew. After three years of mandatory military service, his father sent him to London to work as a clerk for a family friend. While in London, he began to visit the Egyptian Hall, run by the London illusionist John Nevil Maskelyne, he developed a lifelong passion for stage magic. Méliès returned to Paris in 1885 with a new desire: to study painting at the École des Beaux-Arts, his father, refused to support him financially as an artist, so Georges settled with supervising the machinery at the family factory. That same year, he avoided his family's desire for him to marry his brother's sister-in-law and instead married Eugénie Génin, a family friend's daughter whose guardians had left her a sizable dowry. Together they had two children: Georgette, born in 1888, André, born in 1901. While working at the family factory, Méliès continued to cultivate his interest in stage magic, attending performances at the Théâtre Robert-Houdin, founded by the magician Jean Eugène Robert-Houdin.
He began taking magic lessons from Emile Voisin, who gave him the opportunity to perform his first public shows, at the Cabinet Fantastique of the Grévin Wax Museum and at the Galerie Vivienne. In 1888, Méliès' father retired, Georges Méliès sold his share of the family shoe business to his two brothers. With the money from the sale and from his wife's dowry, he purchased the Théâtre Robert-Houdin. Although the theatre was "superb" and equipped with lights, trap doors, several automata, many of the available illusions and tricks were out of date, attendance to the theatre was low after Méliès' initial renovations. Over the next nine years, Méliès created over 30 new illusions that brought more comedy and melodramatic pageantry to performances, much like those Méliès had seen in London, attendance improved. One of his best-known illusions was the Recalcitrant Decapitated Man, in which a professor's head is cut off in the middle of a speech and continues talking until it is returned to his body.
When he purchased the Théâtre Robert-Houdin, Méliès inherited its chief mechanic Eugène Calmels and such performers as Jehanne D'Alcy, who would become his mistress and his second wife. While running the theatre, Méliès worked as a political cartoonist for the liberal newspaper La Griffe, edited by his cousin Adolphe Méliès; as owner of the Théâtre Robert-Houdin, Méliès began working more behind the scenes than on stage. He acted as director, writer and costume designer, as well as inventing many of the magical tricks. With the theatre's growing popularity, he brought in magicians including Buatier De Kolta and Raynaly to the theatre. Along with magic tricks, performances included fairy pantomimes, an automaton performance during intermissions, magic lantern shows, special effects such as snowfall and lightning. In 1895, Méliès was elected president of the Chambre Syndicale des Artistes Illusionistes. On 28 December 1895, Méliès attended a special private demonstration of the Lumière brothers' cinematograph, given for owners of Parisian houses of spectacle.
Méliès offered the Lumières 10,000₣ for one of their machines. (For the same reasons, they
A cinematograph is a motion picture film camera, which serves as a film projector and printer. It was invented in the 1890s in Lyon by Auguste and Louis Lumière; the device was first invented and patented as the "Cinématographe Léon Bouly" by French inventor Léon Bouly on February 12, 1892. Bouly coined the term "cinematograph," from the Greek for "writing in movement." Due to a lack of money, Bouly was unable to develop his ideas properly and maintain his patent fees, so he sold his rights to the device and its name to the Lumière brothers. In 1895, they applied the name to a device, their own creation; the Lumière brothers made their first film, Workers Leaving the Lumière Factory, that same year. The film was publicly screened at L'Eden, the world's first and oldest cinéma, located in La Ciotat in southeastern France, on September 28, 1895; the first commercial, public screening of cinematographic films happened on 28 December 1895 at Salon Indien du Grand Café in Paris and was organised by the Lumière brothers.
This history-making presentation featured ten short films, including their first film, Workers Leaving the Lumiere Factory. Each of these early films is 17 meters long, when hand cranked through a projector, runs 50 seconds; the Cinématographe was exhibited at the Paris Exposition of 1900. At the Exposition, films made by the Lumière Brothers were projected onto a large screen measuring 16 by 21 meters. Several versions of cinématographes were developed, including ones by the inventor Robert Royou Beard, the electrical engineer Cecil Wray, the optician Alfred Wrench, Georges Demenÿ and, of course, the Lumière brothers. Louis Lumière worked with his brother Auguste to create a motion-picture camera superior to Thomas Edison's kinetograph, which did not have a projector; the Lumières endeavored to correct the flaws they perceived in the kinetograph and the kinetoscope, to develop a machine with both sharper images and better illumination. The Cinématographe weighed only 16 lbs. which allowed for ease of transportation and placement.
As well, the Cinématographe was manually operated by a hand-crank, as opposed to Edison's electrically powered camera, not portable. Furthermore, while only one person at a time could use Edison's kinetoscope for viewing—through an eyepiece, peep show style—the Cinématographe could project an image onto a screen so a large audience of people could view images simultaneously; the Cinématographe produced a sharper projected image than had been seen before due to its design, in which a kind of fork held frames behind the lens in place using the perforations in the sides of the film strip. In 1897, the Lumières further added to their invention by using a glass flask of water as the condenser to concentrate the light onto the film frame and to absorb heat; the flask acted as a safety feature, as the light would no longer focus on the flammable film if the glass were to break due to overheating or accident. After the success of the Lumières's initial public screening in 1895, the Cinématographe became a popular attraction for people all over the world.
The Lumière brothers took their machine as far as China and India and it was enjoyed by people of all classes and social standings. The Cinématographe was used to show films in nickelodeons, where the poorest classes could pay the entry fee, it was exhibited at fairs and used as entertainment in vaudeville houses in both Europe and the United States. While vaudeville is associated with the working and middle classes, the machine found its way into more sophisticated venues, where it appealed to the artistic tastes of high society. Bioscop Biograph Electrotachyscope Film Image Kinetoscope List of film formats Panoptikon Pleograph Praxinoscope Vitascope Zoopraxiscope Adventures in Cybersound "Cinematograph". Encyclopedia Americana. 1920. "Cinematograph". Encyclopædia Britannica. 6. 1911. Pp. 374–375
Thomas Alva Edison was an American inventor and businessman, described as America's greatest inventor. He is credited with developing many devices in fields such as electric power generation, mass communication, sound recording, motion pictures; these inventions, which include the phonograph, the motion picture camera, the long-lasting, practical electric light bulb, had a widespread impact on the modern industrialized world. He was one of the first inventors to apply the principles of mass production and teamwork to the process of invention, working with many researchers and employees, he is credited with establishing the first industrial research laboratory. Edison was raised in the American Midwest and early in his career he worked as a telegraph operator, which inspired some of his earliest inventions. In 1876, he established his first laboratory facility in Menlo Park, New Jersey, where many of his early inventions would be developed, he would establish a botanic laboratory in Fort Myers, Florida in collaboration with businessmen Henry Ford and Harvey Firestone, a laboratory in West Orange, New Jersey that featured the world's first film studio, the Black Maria.
He was a prolific inventor, holding 1,093 US patents in his name, as well as patents in other countries. Edison fathered six children, he died in 1931 of complications of diabetes. Thomas Edison was born, in 1847, in Milan and grew up in Port Huron, Michigan, he was the last child of Samuel Ogden Edison Jr. and Nancy Matthews Elliott. His father, the son of a Loyalist refugee, had moved as a boy with the family from Nova Scotia, settling in southwestern Ontario, in a village known as Shrewsbury Vienna, by 1811. Samuel Jr. fled Ontario, because he took part in the unsuccessful Mackenzie Rebellion of 1837. His father, Samuel Sr. had earlier fought in the War of 1812 as captain of the First Middlesex Regiment. By contrast, Samuel Jr.'s struggle found him on the losing side, he crossed into the United States at Sarnia-Port Huron. Once across the border, he found his way to Ohio, his patrilineal family line was Dutch by way of New Jersey. Much of his education came from reading R. G. Parker's The Cooper Union for the Advancement of Science and Art.
Edison developed hearing problems at an early age. The cause of his deafness has been attributed to a bout of scarlet fever during childhood and recurring untreated middle-ear infections. Around the middle of his career, Edison attributed the hearing impairment to being struck on the ears by a train conductor when his chemical laboratory in a boxcar caught fire and he was thrown off the train in Smiths Creek, along with his apparatus and chemicals. In his years, he modified the story to say the injury occurred when the conductor, in helping him onto a moving train, lifted him by the ears. Edison's family moved to Port Huron, Michigan after the canal owners kept the railroad out of Milan Ohio in 1854 and business declined. Edison sold candy and newspapers on trains running from Port Huron to Detroit, sold vegetables, he became a telegraph operator after he saved three-year-old Jimmie MacKenzie from being struck by a runaway train. Jimmie's father, station agent J. U. MacKenzie of Mount Clemens, was so grateful that he trained Edison as a telegraph operator.
Edison's first telegraphy job away from Port Huron was at Stratford Junction, Ontario, on the Grand Trunk Railway. He was held responsible for a near collision, he studied qualitative analysis and conducted chemical experiments on the train until he left the job. Edison obtained the exclusive right to sell newspapers on the road, with the aid of four assistants, he set in type and printed the Grand Trunk Herald, which he sold with his other papers; this began Edison's long streak of entrepreneurial ventures, as he discovered his talents as a businessman. These talents led him to found 14 companies, including General Electric, still one of the largest publicly traded companies in the world. In 1866, at the age of 19, Edison moved to Louisville, where, as an employee of Western Union, he worked the Associated Press bureau news wire. Edison requested the night shift, which allowed him plenty of time to spend at his two favorite pastimes—reading and experimenting; the latter pre-occupation cost him his job.
One night in 1867, he was working with a lead–acid battery when he spilled sulfuric acid onto the floor. It ran onto his boss's desk below; the next morning Edison was fired. His first patent was for the electric vote recorder, U. S. Patent 90,646, granted on June 1, 1869. Finding little demand for the machine, Edison moved to New York City shortly thereafter. One of his mentors during those early years was a fellow telegrapher and inventor named Franklin Leonard Pope, who allowed the impoverished youth to live and work in the basement of his Elizabeth, New Jersey, while Edison worked for Samuel Laws at the Gold Indicator Company. Pope and Edison founded their own company in October 1869, working as electrical engineers and inventors. Edison began developing a multiplex telegraphic system, which could send two messages in 1874. Edison's major innovation was the establishment of an industrial research lab in 1876, it was built in Menlo Park, a part of Raritan Township in Middlesex County, New Jersey, with the funds from the sale of Edison's qua
Workers Leaving the Lumière Factory
Workers Leaving The Lumière Factory in Lyon known as Employees Leaving the Lumière Factory and Exiting the Factory, is an 1895 French short black-and-white silent documentary film directed and produced by Louis Lumière. It is referred to as the first real motion picture made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in a numerous ways-the clothing style changes demonstrating the different seasons in which they were filmed, they are referred to as the "one horse," "two horses," and "no horse" versions, in reference to a horse-drawn carriage that appears in the first two versions. Another film with the same theme was made in 1896, that features another factory with different people; this film was made in the 35 mm format with an aspect ratio of 1.33:1, at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.
Given its age, this short film is available to download from the Internet. It has featured in a number of film collections including Landmarks of Early Film volume 1, The Movies Begin – A Treasury of Early Cinema, 1894–1913 and The Lumière Brothers' First Films; the film has been known by a large number of alternative titles in France and the United States over the years since its production including La Sortie des Usines Lumière à Lyon-Montplaisir, Sortie de l'Usine Lumière, La Sortie des Usines, Les ouvriers et ouvrières sortant de l'Usine Lumière, Employees Leaving the Lumière Factory, Leaving the Factory, Workers Leaving the Lumière Factory, Lunch Hour at the Lumière Factory, Dinner Hour at the Factory Gate of M. Lumière at Lyon, Exiting the Factory, La Sortie des ouvriers de l'Usine Lumière. List of films in the public domain in the United States Roundhay Garden Scene Chardère, Bernard. Les Lumière. Paris: Bibliothèque des Arts. ISBN 2-85047-068-6. Institut-lumiere.org, an earlier version at the Institut Lumière.
Workers Leaving the Lumière Factory All 3 versions, on YouTube YouTube.com, The "two horse" version. YouTube.com, The "no horse" version. Workers Leaving the Lumière Factory on IMDb
Fiction broadly refers to any narrative, derived from the imagination—in other words, not based on history or fact. It can refer, more narrowly, to narratives written only in prose, is used as a synonym for the novel. In its most narrow usage fiction refers to novels, but it may denote any "literary narrative", including novels and short stories. More broadly, fiction has come to encompass imaginative storytelling in any format, including writings, theatrical performances, films, television programs, games, so on. A work of fiction implies the inventive act of constructing an imaginary world, so its audience does not expect it to be faithful to the real world in presenting only characters who are actual people or descriptions that are factually true. Instead, the context of fiction understood as not adhering to the real world, is more open to interpretation. Characters and events within a fictional work may be set in their own context separate from the known universe: an independent fictional universe.
Fiction's traditional opposite is non-fiction, a narrative work whose creator assumes responsibility for presenting only the historical and factual truth. The distinction between fiction and non-fiction however can be unclear in some recent artistic and literary movements, such as postmodern literature. Traditionally, fiction includes novels, short stories, legends, fairy tales and narrative poetry, plays. However, fiction may encompass comic books, many animated cartoons, stop motions, manga, video games, radio programs, television programs, etc; the Internet has had a major impact on the creation and distribution of fiction, calling into question the feasibility of copyright as a means to ensure royalties are paid to copyright holders. Digital libraries such as Project Gutenberg make public domain texts more available; the combination of inexpensive home computers, the Internet and the creativity of its users has led to new forms of fiction, such as interactive computer games or computer-generated comics.
Countless forums for fan fiction can be found online, where loyal followers of specific fictional realms create and distribute derivative stories. The Internet is used for the development of blog fiction, where a story is delivered through a blog either as flash fiction or serial blog, collaborative fiction, where a story is written sequentially by different authors, or the entire text can be revised by anyone using a wiki. Types of literary fiction in prose include: Short story: A work of at least 2,000 words but under 7,500 words; the boundary between a long short story and a novella is vague. Novella: A work of at least 7,500 words but under 50,000 words. Joseph Conrad's Heart of Darkness is an example of a novella. Novel: A work of 50,000 words or more. Fiction is broken down into a variety of genres: subsets of fiction, each differentiated by a particular unifying tone or style, narrative technique, media content, or popularly defined criterion. Science fiction, for example, predicts or supposes technologies that are not realities at the time of the work's creation: Jules Verne's novel From the Earth to the Moon was published in 1865 and only in 1969 did astronaut Neil Armstrong first land on the moon.
Historical fiction places imaginary characters into real historical events. In the early historical novel Waverley, Sir Walter Scott's fictional character Edward Waverley meets a figure from history, Bonnie Prince Charlie, takes part in the Battle of Prestonpans; some works of fiction are or re-imagined based on some true story, or a reconstructed biography. When the fictional story is based on fact, there may be additions and subtractions from the true story to make it more interesting. An example is Tim O'Brien's The Things They Carried, a series of short stories about the Vietnam War. Fictional works that explicitly involve supernatural, magical, or scientifically impossible elements are classified under the genre of fantasy, including Lewis Carroll's Alice In Wonderland, J. K. Rowling's Harry Potter series, J. R. R. Tolkien's The Lord of the Rings. Creators of fantasy sometimes introduce imaginary beings such as dragons and fairies. Literary fiction is a term used in the book-trade to distinguish novels that are regarded as having literary merit, from most commercial or "genre" fiction.
Neal Stephenson has suggested that while any definition will be simplistic there is today a general cultural difference between literary and genre fiction. On the one hand literary authors nowadays are supported by patronage, with employment at a university or a similar institution, with the continuation of such positions determined not by book sales but by critical acclaim by other established literary authors and critics. On the other hand, he suggests, genre fiction writers tend to support themselves by book sales. However, in an interview, John Updike lamented that "the category of'literary fiction' has sprung up to torment people like me who just set out to write books, if anybody wanted to read them, the more the merrier.... I'm a genre writer of a sort. I write literary fiction, like spy fiction or chick lit". On The Charlie Rose Show, he argued that this term, when applied to his work limited him and his expectations of what might come of his writing, so he does not like it, he suggested that all his works are literary be