Entertainment law loyola law school



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Entertainment Law Page Burkholder

Professor Dougherty Fall 2004


ENTERTAINMENT LAW

LOYOLA LAW SCHOOL

PROF. JAY DOUGHERTY

2004 FALL

ENTERTAINMENT LAW 1

LOYOLA LAW SCHOOL 1

I. INTRODUCTION 4

II. SOCIETY & ENTERTAINMENT 6

III. ENTERTAINMENT LAW PRACTICE: 6

IV. TALENT REPRESENTATIVES-- 9

V. FIDUCIARY DUTY 15

TALENT CONTRACTS 17

I. TALENT CONTRACTS--FORMATION 18

II. TALENT CONTRACTS—FORMATION: WRITTEN vs. ORAL AGREEMENTS 18

III. BASSINGER -- enforcement of oral agreement. 18

IV. PAMELA ANDERSON LEE -- similar case, different outcome. 19

V. CONTRACTS—SOME CASES WHERE WRITING REQUIRED 19

VI. TALENT CONTRACTS—FORMATION: CAPACITY TO CONTRACT 20

VII. TALENT CONTRACTS—WORKING WITH CONTRACTS 21

VIII. CONTRACT INTERPRETATION—NEW MEDIA 22

IX. CONTRACTS—VAGUENESS/INDEFINITENESS 23

X. CONTRACT INTERPRETATION—IMPLICATION OF TERMS 24

XI. TALENT CONTRACTS--TERMINATION/BREACH 24

XII. Talent contracts--durational limits 26

XIII. CONFLICTS OF LAW 26

XIV. CALIFORNIA 7-YEAR RULE: MID-TERM RENEGOTIATIONS 27

XV. TALENT CONTRACTS--OTHER LIMITS ON ENFORCEMENT 27

XVI. DAMAGES FOR BREACH OF CONTRACT 29

XVII. BANKRUPTCY 31

PERSONAL RIGHTS 32

I. DEFAMATION--TOPICS 32

RIGHTS OF PRIVACY 36

I. In General -- 36

II. FALSE LIGHT-- 36

III. PUBLIC DISCLOSURE-- 38

IV. INTRUSION-- 39

V. COMMERCIAL APPROPRIATION PRIVACY-- 40

VI. RIGHT OF PUBLICITY 40

COPYRIGHT 46

I. COPYRIGHT--SUBJECT MATTER 46

II. COPYRIGHT--INFRINGEMENT 47

III. In General-- 47

IV. COPYRIGHT—IDEAS/CHARACTERS 48

V. COPYRIGHT—GRANT FORMALITIES 48

IDEA PROTECTION 49

I. IDEA PROTECTION--TOPICS 49

II. IDEAS--CONTRACT PROTECTION 49

III. CHARACTERISTICS BY JX 51

IV. IDEAS--CONFIDENTIALITY -- two bases: 52

V. PREEMPTION OF IDEA PROTECTION CLAIMS BY FEDERAL LAW 52

TRADEMARKS, LANHAM ACT (ISC) & UNFAIR COMPETITION 53

I. UNFAIR COMPETITION & TRADEMARKS--DISTINCTIONS 53

II. TRADEMARK INFRINGEMENT-- 53

III. (“STRENGTH”) 54

IV. SECONDARY MEANING 54

V. INFRINGEMENT 55

VI. TRADEMARK DILUTION 57

VII. TRADEMARKS—PROTECTING CELEBRITY IDENTITY 57

VIII. TRADEMARKS—SOME DEFENSES—FAIR USE 58

IX. TRADEMARK—FIRST AMENDMENT 59

X. FIRST AMENDMENT DEFENSE RE TITLES: 59

CREDITS 59

I. IN GENERAL 59

II. CREDIT--INDIVIDUAL CONTRACTS 60

III. CREDITS--COLLECTIVE BARGAINING AGREEMENTS 61

IV. CREDITS--STATUTE/COMMON LAW 61

V. CONTENT CONTROL 63

VI. RIGHT OF PRIVACY/PUBLICITY & FALSITY/ACTUAL MALICE 65



VII. FIRST AMENDMENT--GENERAL 66



I.INTRODUCTION

A.WHAT IS “ENTERTAINMENT LAW”?

1.Representing Clients In The Various Entertainment Industries

2.Entertainment Industry Structure

3.Know Your Clients’ Business

B.WHAT DO ENTERTAINMENT LAWYERS DO?

1.Charm, Schmooze & Relationships

2.Negotiating, Drafting Skill

3.Knowledge Of The Law And Legal Methods

4.What Substantive Law Is Applicable?

C.ENTERTAINMENT INDUSTRY STRUCTURE

1.Creators (E.G., Songwriters, Recording Artists, Writers, Actors, Directors, Etc.)

2.Producers (Assemble Rights, Services, Financing, Distribution; Manage Production)

3.Financiers (E.G., Small Investors, Banks, Distributors, Exhibitors)

4.Distributors

5.Marketing--Advertising & Publicity

6.Retail

7.Exhibitors, Tv, Radio Stations, Stores

8.Websites

9.Trends

a)Conglomeration

(1)Companies and many businesses.
(2) example fox entertainment; studio/tv/publishing/fox broadcasting/fox news/fx/harpercollins/satellite tv/sunday newspaper coupons.
(3)Example viacom. Paramount/upn/nickelodeon/simon & schuster
(4)Creates a more balanced portfolio. Safer/balanced.

b)Globalization

(1)Income stream is increasingly outside "domestic territory".
(2)Immigration/comparative law/labor law

c)Technological change--media, distribution channels, convergence

10.Legal: Large & Medium Firms, Boutiques, Solo Practice

a)Litigation as training for transaction

11.Music Publishing

a)Music publishers (e.g. Warner-chappell, universal music, sony music)

b)Performing rights societies (ascap, bmi, sesac). Licensee-side: music reports, inc.

c)National music publishers ass’n (nmpa)

d)Harry fox agency—mechanical licenses

e)Ass’n of independent music publishers (aimp)

D.RECORDS

1.Record Companies -- Overall, Record Sales Down As Much As 30% (Europe).

a)Universal,

b)Wea (bought by bronfman),

c)Capitol/emi,

d)Sony,

e)Bertelsman music group (bmg)(merging with sony)

(1)Both production & distribution

2.Trade Associations

a)Riaa (lobby group), soundexchange

3.Unions

a)American federation of musicians (afm)

b)Aftra

4.Retail: Record Stores, Radio, Internet (Musicnet, Pressplay), Cable, Satellite

E.TELEVISION

1.Production Companies--1995 federal law change: eliminates rules against syndication and production by the same company

a)Network production

b)Film studios

c)Independents, eg carsey-werner, granada, lions gate

2.Shift From "Deficit Financing" Paradigm Which Was Dependent On Syndication.

3.Networks Can Now On Syndication And Production.

4.Reality Shows -- Cheaper But No Backend.

5.Networks -- Provides Programming For Affiliates For A License The Or The Right To Advertise.

a)Abc (disney),

b)Cbs (viacom), nbc (universal),

c) Fbc,

d)Wb,

e)Upn,

f)Fx,

g)Espn & other sports n/w’s

6.Pay Tv: Hbo (Time-Warner), Showtime (Viacom)

7.Stations & Station Groups

8.Trade Association: Nab




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