Copyright is a legal concept, enacted by most governments, giving the creator of an original work exclusive rights to it, usually for a limited time. Generally, it is "the right to copy", but also gives the copyright holder the right to be credited for the work, to determine who may adapt the work to other forms, who may perform the work, who may financially benefit from it, and other related rights. It is an intellectual property form (like the patent, the trademark, and the trade secret) applicable to any expressible form of an idea or information that is substantive and discrete.^{[clarification needed][1]}

Copyright initially was conceived as a way for government to restrict printing; the contemporary intent of copyright is to promote the creation of new works by giving authors control of and profit from them. Copyrights are said to be territorial, which means that they do not extend beyond the territory of a specific state unless that state is a party to an international agreement. Today, however, this is less relevant since most countries are parties to at least one such agreement. While many aspects of national copyright laws have been standardized through international copyright agreements, copyright laws of most countries have some unique features.^[2] Typically, the duration of copyright is the whole life of the creator plus fifty to a hundred years from the creator's death, or a finite period for anonymous or corporate creations. Some jurisdictions have required formalities to establishing copyright, but most recognize copyright in any completed work, without formal registration. Generally, 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, and inspired additional challenges to copyright law's philosophic basis. Simultaneously, businesses with great economic dependence upon copyright have advocated the extension and expansion of their copy rights, and sought additional legal and technological enforcement.

Justification[link]

Some take the approach of looking for coherent justifications of established copyright systems, while others start with general ethical theories, such as utilitarianism and try to analyse policy through that lens. Another approach denies the meaningfulness of any ethical justification for existing copyright law, viewing it simply as a result (and perhaps an undesirable result) of political processes.

Another widely debated issue is the relationship between copyrights and other forms of "intellectual property", and material property. Most scholars of copyright agree that it can be called a kind of property, because it involves the exclusion of others from something. But there is disagreement about the extent to which that fact should allow the transportation of other beliefs and intuitions about material possessions.

There are many other philosophical questions which arise in the jurisprudence of copyright. They include such problems as determining when one work is "derived" from another, or deciding when information has been placed in a "tangible" or "material" form.

Some critics claim copyright law protects corporate interests while criminalizing legitimate use, while proponents argue the law is fair and just.^[3]

History[link]

Copyright was invented after the advent of the printing press and with wider public literacy. As a legal concept, its origins in Britain were from a reaction to printers' monopolies at the beginning of the 18th century. Charles II of England was concerned by the unregulated copying of books and passed the Licensing of the Press Act 1662 by Act of Parliament,^[4] which established a register of licensed books and required a copy to be deposited with the Stationers' Company, essentially continuing the licensing of material that had long been in effect.

The Statute of Anne came into force in 1710

The British Statute of Anne (1710) further alluded to individual rights of the artist, beginning: "Whereas Printers, Booksellers, and other Persons, have of late frequently taken the Liberty of Printing... Books, and other Writings, without the Consent of the Authors... to their very great Detriment, and too often to the Ruin of them and their Families:"^[5] A right to benefit financially from the work is articulated, and court rulings and legislation have recognized a right to control the work, such as ensuring that the integrity of it is preserved. An irrevocable right to be recognized as the work's creator appears in some countries' copyright laws.

Aside from the role of governments and the church, the history of copyright law is in essential ways also connected to the rise of capitalism and the attendant extension of commodity relations to the realm of creative human activities, such as literary and artistic production. Similarly, 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 generally 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, expression and property of the collective. Not until capitalism emerges in Europe with its individualist ideological underpinnings does the conception of intellectual property and by extension copyright law emerge. Intellectual production comes to be seen as a product of an individual and their property, rather than a collective or social product which belongs in the commons. The most significant point is that under the capitalist mode of production, patent and copyright laws support in fundamental and thoroughgoing ways 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 hitherto had no monetary or economic value per se.^[6]

The Statute of Anne was the first real copyright act, and gave the publishers rights for a fixed period, after which the copyright expired.^[7] 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, films, photographs, software, and architectural works.

Prior to the passage of the United States Constitution, several States passed their own various copyright laws between 1783 and 1787, the first State having done so being Connecticut.^[8] Contemporary scholars and patriots such as Noah Webster, John Trumbull, and Joel Barlow were instrumental in securing the passage of these statutes.^[8]

The Copyright Act of 1790 in the Columbian Centinel

The Copyright Clause of the United States Constitution (1787) authorized copyright legislation: "To promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries." That is, by guaranteeing them a period of time in which they alone could profit from their works, they would be enabled and encouraged to invest the time required to create them, and this would be good for society as a whole. A right to profit from the work has been the philosophical underpinning for much legislation extending the duration of copyright, to the life of the creator and beyond, to his heirs.

The original length of copyright in the US was 14 years, and it had to be explicitly applied for. If the author wished, he could apply for a second 14 year monopoly grant, but after that the work entered the public domain, so it could be used and built upon by others.

Thomas Jefferson, who strongly advocated the ability of the public to share and build upon the works of others, proposed as part of the Bill of Rights that a short timespan be protected:

Art. 9. Monopolies may be allowed to persons for their own productions in literature and their own inventions in the arts for a term not exceeding — years but for no longer term and no other purpose.^[9]

The 1886 Berne Convention first established recognition of copyrights among sovereign nations, rather than merely bilaterally. Under the Berne Convention, copyrights for creative works do not have to be asserted or declared, as they are automatically in force at creation: an author need not "register" or "apply for" a copyright in countries adhering to the Berne Convention.^[10] As soon as a work is "fixed", that is, written or recorded on some physical medium, its author is automatically entitled to all copyrights in the work, and to any derivative works unless and until the author explicitly disclaims them, or until the copyright expires. The Berne Convention also resulted in foreign authors being treated equivalently to domestic authors, in any country signed onto the Convention. The UK signed the Berne Convention in 1887 but did not implement large parts of it until 100 years later with the passage of the Copyright, Designs and Patents Act of 1988. The USA did not sign the Berne Convention until 1989.^[11]

The United States and most Latin American countries instead entered into the Buenos Aires Convention in 1910, which required a copyright notice (such as "all rights reserved") on the work, and permitted signatory nations to limit the duration of copyrights to shorter and renewable terms.^[12][13][14] The Universal Copyright Convention was drafted in 1952 as another less demanding alternative to the Berne Convention, and ratified by nations such as the Soviet Union and developing nations.

The regulations of the Berne Convention are incorporated into the World Trade Organization's TRIPS agreement (1995), thus giving the Berne Convention effectively near-global application.^[15] The 2002 WIPO Copyright Treaty enacted greater restrictions on the use of technology to copy works in the nations that ratified it.

With the intense lobbying of Disney, each time its works came close to entering into the public domain under normal conditions, the US Congress has extended copyright length, to the point where it is now 70 years after the death of the author.

Scope[link]

Copyright may apply to a wide range of creative, intellectual, or artistic forms, or "works". Specifics vary by jurisdiction, but these can include poems, theses, plays, other literary works, movies, dances, musical compositions, audio recordings, paintings, drawings, sculptures, photographs, software, radio and television broadcasts, and industrial designs. Graphic designs and industrial designs may have separate or overlapping laws applied to them in some jurisdictions.^[16][17]

Copyright does not cover ideas and information themselves, only the form or manner in which they are expressed.^[18] For example, the copyright to a Mickey Mouse cartoon restricts others from making copies of the cartoon or creating derivative works based on Disney's particular anthropomorphic mouse, but does not prohibit the creation of other works about anthropomorphic mice in general, so long as they are different enough to not be judged copies of Disney's.^[18] In many jurisdictions, copyright law makes exceptions to these restrictions when the work is copied for the purpose of commentary or other related uses (See Fair Use, Fair Dealing). Meanwhile, other laws may impose additional restrictions that copyright does not — such as trademarks and patents.

Copyright laws are standardized somewhat through international conventions such as the Berne Convention and Universal Copyright Convention. These multilateral treaties have been ratified by nearly all countries, and international organizations such as the European Union or World Trade Organization require their member states to comply with them.

Obtaining and enforcing copyright[link]

A copyright certificate for proof of the Fermat theorem, issued by the State Department of Intellectual Property of Ukraine

Typically, a work must meet minimal standards of originality in order to qualify for copyright, and the copyright expires after a set period of time (some jurisdictions may allow this to be extended). Different countries impose different tests, although generally the requirements are low; in the United Kingdom there has to be some 'skill, labour and judgment' that has gone into it.^[19] In Australia and the United Kingdom it has been held that a single word is insufficient to comprise a copyright work. However, single words or a short string of words can sometimes be registered as a trademark instead.

Copyright law recognises the right of an author based on whether the work actually is an original creation, rather than based on whether it is unique; two authors may own copyright on two substantially identical works, if it is determined that the duplication was coincidental, and neither was copied from the other.

In all countries where the Berne Convention standards apply, copyright is automatic, and need not be obtained through official registration with any government office. Once an idea has been reduced to tangible form, for example by securing it in a fixed medium (such as a drawing, sheet music, photograph, a videotape, or a computer file), the copyright holder is entitled to enforce his or her exclusive rights.^[10] However, while registration isn't needed to exercise copyright, in jurisdictions where the laws provide for registration, it serves as prima facie evidence of a valid copyright and enables the copyright holder to seek statutory damages and attorney's fees. (In the USA, registering after an infringement only enables one to receive actual damages and lost profits.)

The original holder of the copyright may be the employer of the author rather than the author himself, if the work is a "work for hire".^[20] For example, in English law the Copyright, Designs and Patents Act 1988 provides that if a copyrighted work is made by an employee in the course of that employment, the copyright is automatically owned by the employer which would be a "Work for Hire."

Copyrights are generally enforced by the holder in a civil law court, but there are also criminal infringement statutes in some jurisdictions. While central registries are kept in some countries which aid in proving claims of ownership, registering does not necessarily prove ownership, nor does the fact of copying (even without permission) necessarily prove that copyright was infringed. Criminal sanctions are generally aimed at serious counterfeiting activity, but are now becoming more commonplace as copyright collectives such as the RIAA are increasingly targeting the file sharing home Internet user. Thus far, however, most such cases against file sharers have been settled out of court. (See: Legal aspects of file sharing)

Cost of enforcing copyright[link]

In most jurisdictions the copyright holder must bear the cost of enforcing copyright. This will usually involve engaging legal representation, administrative and or court costs. These costs, including time, should be taken into consideration when evaluating the benefits of enforcing copyright. In light of this many copyright disputes are settled by a direct approach to the infringing party in order to settle the dispute out of court.

Copyright notices in the U.S.[link]

A copyright symbol used in copyright notice

Prior to 1989, use of a copyright notice — consisting of the copyright symbol (©, the letter C inside a circle), the abbreviation "Copr.", or the word "Copyright", followed by the year of the first publication of the work and the name of the copyright holder — was part of United States statutory requirements.^[21][22] Several years may be noted if the work has gone through substantial revisions. The proper copyright notice for sound recordings of musical or other audio works is a sound recording copyright symbol (℗, the letter P inside a circle), which indicates a sound recording copyright, with the letter "p" indicating a "phonorecord." Similarly, the phrase All rights reserved was once required to assert copyright.

In 1989, the U.S. enacted the Berne Convention Implementation Act, amending the 1976 Copyright Act to conform to most of the provisions of the Berne Convention. As a result, the use of copyright notices has become optional to claim copyright, because the Berne Convention makes copyright automatic.^[23] However, the lack of notice of copyright using these marks may have consequences in terms of reduced damages in an infringement lawsuit — using notices of this form may reduce the likelihood of a defense of "innocent infringement" being successful.^[24]

"Poor man's copyright"[link]

A widely circulated strategy to avoid the cost of copyright registration is referred to as the "poor man's copyright". It proposes that the creator send the work to himself in a sealed envelope by registered mail, using the postmark to establish the date. This technique has not been recognized in any published opinions of the United States courts. The United States Copyright Office makes it clear that the technique is no substitute for actual registration.^[25] The United Kingdom Intellectual Property Office discusses the technique but does not recommend its use.^[26][27]

Exclusive rights[link]

Several exclusive rights typically attach to the holder of a copyright:

• to produce copies or reproductions of the work and to sell those copies (including, typically, electronic copies)
• to import or export the work
• to create derivative works (works that adapt the original work)
• to perform or display the work publicly
• to sell or assign these rights to others
• to transmit or display by radio or video^[16]

The phrase "exclusive right" means that only the copyright holder is free to exercise those rights, and others are prohibited from using the work without the holders permission. Copyright is sometimes called a "negative right", as it serves to prohibit certain people (e.g., readers, viewers, or listeners, and primarily publishers and would be publishers) from doing something they would otherwise be able to do, rather than permitting people (e.g., authors) to do something they would otherwise be unable to do. In this way it is similar to the unregistered design right in English law and European law. The rights of the copyright holder also permit him/her to not use or exploit their copyright, for some or all of the term. There is, however, a critique which rejects this assertion as being based on a philosophical interpretation of copyright law that is not universally shared. There is also debate on whether copyright should be considered a property right or a moral right.^{[citation needed]}

Useful articles[link]

If a pictorial, graphic or sculptural work is a useful article, it is copyrighted only if its aesthetic features are separable from its utilitarian features. A useful article is an article having an intrinsic utilitarian function that is not merely to portray the appearance of the article or to convey information. They must be separable from the functional aspect to be copyrighted.^[28]

Limitations and exceptions to copyright[link]

Idea-expression dichotomy and the merger doctrine[link]

The idea-expression divide differentiates between ideas and expression, and states that copyright protects only the original expression of ideas, and not the ideas themselves. This principle, first clarified in the 1879 case of Baker v. Selden, has since been codified by the Copyright Act of 1976 at 17 U.S.C. § 102(b).

The first-sale doctrine and exhaustion of rights[link]

Copyright law does not restrict the owner of a copy from reselling legitimately obtained copies of copyrighted works, provided that those copies were originally produced by or with the permission of the copyright holder. It is therefore legal, for example, to resell a copyrighted book or CD. In the United States this is known as the first-sale doctrine, and was established by the courts to clarify the legality of reselling books in second-hand bookstores. Some countries may have parallel importation restrictions that allow the copyright holder to control the aftermarket. This may mean for example that a copy of a book that does not infringe copyright in the country where it was printed does infringe copyright in a country into which it is imported for retailing. The first-sale doctrine is known as exhaustion of rights in other countries and is a principle which also applies, though somewhat differently, to patent and trademark rights. It is important to note that the first-sale doctrine permits the transfer of the particular legitimate copy involved. It does not permit making or distributing additional copies.

In addition, copyright, in most cases, does not prohibit one from acts such as modifying, defacing, or destroying his or her own legitimately obtained copy of a copyrighted work, so long as duplication is not involved. However, in countries that implement moral rights, a copyright holder can in some cases successfully prevent the mutilation or destruction of a work that is publicly visible.

Fair use and fair dealing[link]

Copyright does not prohibit all copying or replication. In the United States, the fair use doctrine, codified by the Copyright Act of 1976 as 17 U.S.C. Section 107, permits some copying and distribution without permission of the copyright holder or payment to same. The statute does not clearly define fair use, but instead gives four non-exclusive factors to consider in a fair use analysis. Those factors are:

1. the purpose and character of your use
2. the nature of the copyrighted work
3. what amount and proportion of the whole work was taken, and
4. the effect of the use upon the potential market for or value of the copyrighted work.^[29]

In the United Kingdom and many other Commonwealth countries, a similar notion of fair dealing was established by the courts or through legislation. The concept is sometimes not well defined; however in Canada, private copying for personal use has been expressly permitted by statute since 1999. In Australia, the fair dealing exceptions under the Copyright Act 1968 (Cth) are a limited set of circumstances under which copyrighted material can be legally copied or adapted without the copyright holder's consent. Fair dealing uses are research and study; review and critique; news reportage and the giving of professional advice (i.e. legal advice). Under current Australian law it is still a breach of copyright to copy, reproduce or adapt copyright material for personal or private use without permission from the copyright owner. Other technical exemptions from infringement may also apply, such as the temporary reproduction of a work in machine readable form for a computer.

In the United States the AHRA (Audio Home Recording Act Codified in Section 10, 1992) prohibits action against consumers making noncommercial recordings of music, in return for royalties on both media and devices plus mandatory copy-control mechanisms on recorders.

Section 1008. Prohibition on certain infringement actions

No action may be brought under this title alleging infringement of copyright based on the manufacture, importation, or distribution of a digital audio recording device, a digital audio recording medium, an analog recording device, or an analog recording medium, or based on the noncommercial use by a consumer of such a device or medium for making digital musical recordings or analog musical recordings.^[30]

Later acts amended US Copyright law so that for certain purposes making 10 copies or more is construed to be commercial, but there is no general rule permitting such copying. Indeed making one complete copy of a work, or in many cases using a portion of it, for commercial purposes will not be considered fair use. The Digital Millennium Copyright Act prohibits the manufacture, importation, or distribution of devices whose intended use, or only significant commercial use, is to bypass an access or copy control put in place by a copyright owner.^[16] An appellate court has held that fair use is not a defense to engaging in such distribution.

Accessible copies[link]

It is legal in several countries including the United Kingdom and the United States to produce alternative versions (for example, in large print or braille) of a copyrighted work to provide improved access to a work for blind and visually impaired persons without permission from the copyright holder.^[31][32]

Transfer and licensing, and assignment[link]

A copyright, or aspects of it, may be assigned or transferred from one party to another.^[33] For example, a musician who records an album will often sign an agreement with a record company in which the musician agrees to transfer all copyright in the recordings in exchange for royalties and other considerations. The creator (and original copyright holder) benefits, or expects to, from production and marketing capabilities far beyond those of the author. In the digital age of music, music may be copied and distributed at minimal cost through the Internet, however the record industry attempts to provide promotion and marketing for the artist and his or her work so it can reach a much larger audience. A copyright holder need not transfer all rights completely, though many publishers will insist. Some of the rights may be transferred, or else the copyright holder may grant another party a non-exclusive license to copy and/or distribute the work in a particular region or for a specified period of time.

A transfer or licence may have to meet particular formal requirements in order to be effective,^[34] for example under the Australian Copyright Act 1968 the copyright itself must be expressly transferred in writing. Under the U.S. Copyright Act, a transfer of ownership in copyright must be memorialized in a writing signed by the transferor. For that purpose, ownership in copyright includes exclusive licenses of rights. Thus exclusive licenses, to be effective, must be granted in a written instrument signed by the grantor. No special form of transfer or grant is required. A simple document that identifies the work involved and the rights being granted is sufficient. Non-exclusive grants (often called non-exclusive licenses) need not be in writing under U.S. law. They can be oral or even implied by the behavior of the parties. Transfers of copyright ownership, including exclusive licenses, may and should be recorded in the U.S. Copyright Office. (Information on recording transfers is available on the Office's web site.) While recording is not required to make the grant effective, it offers important benefits, much like those obtained by recording a deed in a real estate transaction.

Copyright may also be licensed.^[33] Some jurisdictions may provide that certain classes of copyrighted works be made available under a prescribed statutory license (e.g. musical works in the United States used for radio broadcast or performance). This is also called a compulsory license, because under this scheme, anyone who wishes to copy a covered work does not need the permission of the copyright holder, but instead merely files the proper notice and pays a set fee established by statute (or by an agency decision under statutory guidance) for every copy made.^[35] Failure to follow the proper procedures would place the copier at risk of an infringement suit. Because of the difficulty of following every individual work, copyright collectives or collecting societies and performing rights organizations (such as ASCAP, BMI, and SESAC have been formed to collect royalties for hundreds (thousands and more) works at once. Though this market solution bypasses the statutory license, the availability of the statutory fee still helps dictate the price per work collective rights organizations charge, driving it down to what avoidance of procedural hassle would justify.

Creative Commons[link]

Founded in 2001, Creative Commons (CC) is a non-profit organization^[36] which aims to facilitate the legal sharing of creative works. To this end the organization provides a number of copyright license options to the public, free of charge. These licenses allow copyright holders to define conditions under which others may use a work and to specify what types of use are acceptable.^[36] Terms of use have traditionally been negotiated on an individual basis between copyright holder and potential licensee. Therefore, a general CC license outlining which rights the copyright holder is willing to waive enable the general public to use such works more freely. Four general types of CC licenses are available. These are based upon copyright holder stipulations such as whether he or she is willing to allow modifications to the work, whether he or she permits the creation of derivative works and whether he or she is willing to permit commercial use of the work.^[37] Individuals may register for a CC license via the Creative Commons website. As of 2009 approximately 130 million individuals had received such licenses.^[37]

Duration[link]

Copyright term[link]

Expansion of U.S. copyright law (Assuming authors create their works at age 35 and live for seventy years)

Copyright subsists for a variety of lengths in different jurisdictions. The length of the term can depend on several factors, including the type of work (e.g. musical composition, novel), whether the work has been published, and whether the work was created by an individual or a corporation. In most of the world, the default length of copyright is the life of the author plus either 50 or 70 years. In the United States, the term for most existing works is a fixed number of years after the date of creation or publication. Under most countries' laws (for example, the United States^[38] and the United Kingdom^[39]), copyrights expire at the end of the calendar year in question.

The length and requirements for copyright duration are subject to change by legislation, and since the early 20th century there have been a number of adjustments made in various countries, which can make determining the duration of a given copyright somewhat difficult. For example, the United States used to require copyrights to be renewed after 28 years to stay in force, and formerly required a copyright notice upon first publication to gain coverage. In Italy and France, there were post-wartime extensions that could increase the term by approximately 6 years in Italy and up to about 14 in France. Many countries have extended the length of their copyright terms (sometimes retroactively). International treaties establish minimum terms for copyrights, but individual countries may enforce longer terms than those.^[40]

In the United States, all books and other works published before 1923 have expired copyrights and are in the public domain.^[41] In addition, works published before 1964 that did not have their copyrights renewed 28 years after first publication year also are in the public domain, except that books originally published outside the US by non-Americans are exempt from this requirement, if they are still under copyright in their home country (see How Can I Tell Whether a Copyright Was Renewed for more details).

But if the intended exploitation of the work includes publication (or distribution of derivative work, such as a film based on a book protected by copyright) outside the U.S., the terms of copyright around the world must be considered. If the author has been dead more than 70 years, the work is in the public domain in most, but not all, countries. Some works are covered by copyright in Spain for 80 years after the author's death.^[42]

In 1998 the length of a copyright in the United States was increased by 20 years under the The Copyright Term Extension Act. This legislation was strongly promoted by corporations which had valuable copyrights which otherwise would have expired, and has been the subject of substantial criticism on this point.^[43]

As a curiosity, the famous work Peter Pan, or The Boy Who Wouldn't Grow Up has a complex – and disputed – story of copyright expiry.^[44]

Public domain[link]

Copyright, like other intellectual property rights is subject to a statutorily-determined term. Once the term of a copyright has expired, the formerly copyrighted work enters the public domain and may be freely used or exploited by anyone. Courts in the United States and the United Kingdom have rejected the doctrine of a common law copyright. Public domain works should not be confused with works that are publicly available. Works posted in the internet for example, are publicly available, but are not generally in the public domain. Copying such works may therefore violate the author's copyright.

Copyright infringement[link]

Street hackers and mp3 pirates in Afghanistan

Piracy is considered to be the illegitimate use of materials held by copyright.^[45] For the history of the term "piracy" see Copyright infringement. For a work to be considered pirated, its illegitimate use must have occurred in a nation that has domestic copyright laws and/or adheres to a bilateral treaty or established international convention such as the Berne Convention or WIPO Copyright Treaty. Improper use of materials outside of this legislation is deemed "unauthorized edition", not piracy.^[46]

Piracy primarily targets software, film and music. However, the illegal copying of books and other text works remains common, especially for educational reasons. Statistics regarding the effects of piracy are difficult to determine. Studies have attempted to estimate a monetary loss for industries affected by piracy by predicting what portion of pirated works would have been formally purchased if they had not been freely available.^[47] Estimates in 2007^{[according to whom?]} stated 18.2 billion potential losses in consumer dollars lost as a result of piracy activities in the United States.^[48] International estimates^{[according to whom?]} suggest losses in the billions throughout the last decade.^[48] However other reports indicate that piracy does not have an adverse effect on the entertainment industry.^[49]

See also[link]

	Philosophy portal
	Law portal

Treaties and international agreements[link]

• Berne Convention for the Protection of Literary and Artistic Works of 1886
• Rome Convention for the Protection of Performers, Producers of Phonograms and Broadcasting Organisations of 1961
• Universal Copyright Convention of 1952
• WIPO Copyright Treaty of 1996
• WIPO Performances and Phonograms Treaty of 1996
• The World Trade Organization Agreement on Trade-Related Aspects of Intellectual Property Rights (TRIPS), of 1994

Sui generis[link]

References[link]

Further reading[link]

• Dowd, Raymond J. (2006). Copyright Litigation Handbook (1st ed.). Thomson West. ISBN 0-314-96279-4. 
• Gantz, John & Rochester, Jack B. (2005). Pirates of the Digital Millennium. Financial Times Prentice Hall. ISBN O-13-146315-2. 
• Ghosemajumder, Shuman. Advanced Peer-Based Technology Business Models. MIT Sloan School of Management, 2002.
• Lehman, Bruce: Intellectual Property and the National Information Infrastructure (Report of the Working Group on Intellectual Property Rights, 1995)
• Lindsey, Marc: Copyright Law on Campus. Washington State University Press, 2003. ISBN 978-0-87422-264-7.
• Mazzone, Jason. Copyfraud. SSRN
• Nimmer, Melville; David Nimmer (1997). Nimmer on Copyright. Matthew Bender. ISBN 0-8205-1465-9. 
• Patterson, Lyman Ray (1968). Copyright in Historical Perspective. Vanderbilt University Press. ISBN 0-8265-1373-5. 
• Pievatolo, Maria Chiara. Publicness and Private Intellectual Property in Kant's Political Thought. http://bfp.sp.unipi.it/~pievatolo/lm/kantbraz.html
• Rosen, Ronald (2008). Music and Copyright. Oxford Oxfordshire: Oxford University Press. ISBN 0-19-533836-7. 
• Shipley, David E. Thin But Not Anorexic: Copyright Protection for Compilations and Other Fact Works UGA Legal Studies Research Paper No. 08-001; Journal of Intellectual Property Law, Vol. 15, No. 1, 2007.
• Silverthorne, Sean. Music Downloads: Pirates- or Customers?. Harvard Business School Working Knowledge, 2004.
• Sorce Keller, Marcello. "Originality, Authenticity and Copyright", Sonus, VII(2007), no. 2, pp. 77–85.
• Steinberg, S.H. & Trevitt, John (1996). Five Hundred Years of Printing (4th ed.). London and New Castle: The British Library and Oak Knoll Press. ISBN 1-884718-19-1. 
• Story, Alan; Darch, Colin & Halbert, Deborah, ed. (2006). The Copy/South Dossier: Issues in the Economics, Politics and Ideology of Copyright in the Global South [1]. Copy/South Research Group. ISBN 978-0-9553140-1-8. 
• WhyNotAskMe.org: Organization demanding democratic participation in copyright legislation and a moratorium on secret and fast-tracked copyright negotiations http://whynotaskme.org/

External links[link]

Wikisource has the text of the 1911 Encyclopædia Britannica article Copyright.

Wikisource has original text related to this article: Copyright law

Wikimedia Commons has media related to: Copyright

Wikiquote has a collection of quotations related to: Copyright

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• Copyright at the Open Directory Project
• Collection of laws for electronic access from WIPO – intellectual property laws of many countries
• Copyright from UCB Libraries GovPubs
• About Copyright at the UK Intellectual Property Office
• A Bibliography on the Origins of Copyright and Droit d'Auteur
• 6.912 Introduction to Copyright Law taught by Keith Winstein, MIT OpenCourseWare January IAP 2006
• Copyright Berne Convention: Country List List of the 164 members of the Berne Convention for the protection of literary and artistic works.
• UK Copyright Law fact sheet (April 2000) a concise introduction to UK Copyright legislation
• IPR Toolkit – An Overview, Key Issues and Toolkit Elements (September 2009) by Professor Charles Oppenheim and Naomi Korn at the Strategic Content Alliance
• MIT OpenCourseWare 6.912 Introduction to Copyright Law Free self-study course with video lectures as offered during the January 2006, Independent Activities Period (IAP)

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Lawrence Lessig
Born	(1961-06-03) June 3, 1961 (age 51) Rapid City, South Dakota, U.S.
Occupation	Founder, Creative Commons Founder, Stanford Center for Internet and Society Professor, Harvard Law School
Spouse	Bettina Neuefeind
Website
lessig.org

Interview with Lawrence Lessig in 2009.

Lawrence "Larry" Lessig (born June 3, 1961) is an American academic and political activist. He is best known as a proponent of reduced legal restrictions on copyright, trademark, and radio frequency spectrum, particularly in technology applications, and he has called for state-based activism to promote substantive reform of government with a Second Constitutional Convention.^[1]

He is a director of the Edmond J. Safra Foundation Center for Ethics at Harvard University and a professor of law at Harvard Law School. Prior to rejoining Harvard, he was a professor of law at Stanford Law School and founder of its Center for Internet and Society. Lessig is a founding board member of Creative Commons, and also is on the board of MapLight.^[2] He is on the advisory boards of the Sunlight Foundation^[3] and Americans Elect.^[4] He is a former board member of the Free Software Foundation, Software Freedom Law Center and the Electronic Frontier Foundation.^[5]

Academic career[link]

Born in Rapid City, South Dakota, Lessig grew up in Williamsport, Pennsylvania, and earned a B.A. in Economics and a B.S. in Management (Wharton School) from the University of Pennsylvania, an M.A. in philosophy from the University of Cambridge (Trinity) in England, and a Juris Doctor from Yale Law School in 1989. After graduating from law school, he clerked for a year for Judge Richard Posner, at the 7th Circuit Court of Appeals in Chicago, Illinois and another year for Justice Antonin Scalia at the Supreme Court.^[6]

Lessig started his academic career at the University of Chicago Law School, where he was Professor from 1991 to 1997. From 1997 to 2000, he was at Harvard Law School, holding for a year the chair of Berkman Professor of Law, affiliated with the Berkman Center for Internet & Society.^[6] He subsequently joined Stanford Law School, where he established the school's Center for Internet and Society.^[7]

Lessig returned to Harvard in December 2008 as Professor and Director of the "Edmond J. Safra Foundation Center for Ethics".^[8]

Political activism[link]

Lessig is currently considered politically liberal. As a law clerk, however, he worked for both Judge Richard Posner and Justice Antonin Scalia, two influential conservative judges.

Lessig has emphasized in interviews that his philosophy experience at Cambridge radically changed his values and career path. Previously, he had held strong conservative or libertarian political views, desired a career in business, was a highly active member of Teenage Republicans, serving as the Youth Governor for Pennsylvania through the YMCA Youth and Government program^[9] in 1978 and almost pursued a Republican political career.

What was intended to be a year abroad at Cambridge convinced him instead to stay another two years to complete a graduate degree in philosophy there and develop his changed political values. During this time, he also traveled in the Eastern Bloc, so acquiring a lifelong interest in Eastern European law and politics.

Lessig refuses to embrace conventional libertarianism. While Lessig remains skeptical of government intervention, he favors regulation by calling himself "a constitutionalist". In his blog, Lessig came out in favor of then-Democratic primary candidate Barack Obama, citing the transformative nature of Obama's campaign as one of his chief reasons. On one occasion, Lessig also commended the John McCain campaign for discussing fair use rights in a letter to YouTube where it took issue with YouTube for indulging overreaching copyright claims leading to the removal of various campaign videos.^[10]

In a speech in 2011, Lessig revealed that he was disappointed with Obama's performance in office, criticizing it as a "betrayal", and he criticized the president for using "the (Hillary) Clinton playbook".^[11] Lessig has called for state governments to call for a national constitutional convention,^[12] and that the convention be populated by a "random proportional selection of citizens" which he suggested would work effectively. He said "politics is a rare sport where the amateur is better than the professional."^[12]

Constitutional convention[link]

In 2010, Lessig began to organize for a national constitutional convention.^[13] He co-founded Fix Congress First! with Joe Trippi.^[14] Lessig called for a convention to propose amendments to the United States Constitution^[15] in a September 24–25, 2011 conference co-chaired by the Tea Party Patriots' national coordinator,^[16] in Lessig's October 5 book, Republic, Lost: How Money Corrupts Congress – and a Plan to Stop It,^[17] and at the Occupy protest in Washington, DC.^[18] Reporter Dan Froomkin said the book offers a manifesto for the Occupy Wall Street protestors, focusing on the core problem of corruption in both political parties and their elections.^[19] Lessig's initial constitutional amendment would allow legislatures to limit political contributions from non-citizens, including corporations, anonymous organizations, and foreign nationals, and he also supports public campaign financing and electoral college reform to establish the one person, one vote principle.^[20] Lessig's web site convention.idea.informer.com allows anyone to propose and vote on constitutional amendments.^[21]

Rootstrikers[link]

Change Congress, founded by Lessig and Joe Trippi, the Fix Congress First project, and the Rootstrikers project were created to help volunteers to address the problem of money in politics.^[22][23] In November 2011, Lessig announced all three projects would become part of the "United Republic". http://unitedrepublic.org/.  organization, along with Dylan Ratigan’s Get Money Out campaign.^[24][25]

Money in politics[link]

At the iCommons iSummit 07, Lessig announced that he will stop focusing his attention on copyright and related matters and will work on political corruption instead.^[26] This new work may be partially facilitated through his wiki, "Lessig Wiki", which he has encouraged the public to use to document cases of corruption.^[27] Lessig criticized the revolving door phenomenon in which legislators and staffers leave office to become lobbyists and have become beholden to special interests.^[28]

In February 2008, a Facebook group formed by law professor John Palfrey encouraged him to run for Congress from California's 12th congressional district, the seat vacated by the death of U.S. Representative Tom Lantos.^[29] Later that month, after forming an "exploratory project", the decision was made not to run for the vacant seat.^[30]

Despite having decided to forgo running for Congress himself, Lessig remained interested in attempting to change Congress to reduce corruption.^[30] To this end, he worked with political consultant Joe Trippi to launch a web based project called "Change Congress".^[31] In a press conference on March 20, 2008, Lessig explained that he hoped the Change Congress website would help provide technological tools voters could use to hold their representatives accountable and reduce the influence of money on politics.^[32] He is a board member of MAPLight.org, a nonprofit research group illuminating the connection between money and politics.

Lessig has known president Barack Obama since their days of both teaching law at the University of Chicago, and had been mentioned as a candidate to head the Federal Communications Commission, which regulates the telecommunications industry.^[33] However, this position is now held by Julius Genachowski.^[34]

At his talk at the 2009 Aspen Ideas Festival, Professor Lessig talked about Forbin Problems in a talk entitled Will Technology Change Our Lives?^[35] and also about his idea that the American public has lost faith in the central institution of our democracy, Congress.^[36]

Internet and computer activism[link]

"Code is law"[link]

In computer science, "code" typically refers to the text of a computer program (the source code). In law, "code" can refer to the texts that constitute statutory law. In his book Code and Other Laws of Cyberspace, Lessig explores the ways in which code in both senses can be instruments for social control, leading to his dictum that "Code is law." Lessig later updated his work in order to keep up with the prevailing views of the time and released the book as Code: Version 2.0 in December 2006.

Legislative reform[link]

Despite presenting an anti-regulatory standpoint in many fora, Lessig still sees the need for legislative enforcement of copyright. He has called for limiting copyright terms for creative professionals to five years, but believes that introducing the bureaucratic procedure needed to renew trademarks, by making copyright need to be renewed for up to 75 years after this five year term, would mean that creative professionals' work, many of the independent, would become more easily and quickly available.^[37] Lessig has repeated taken a stance that privatization through legislation like that seen in the 1980s in the UK with British Telecommunications is not the best way to help the Internet grow. He said, "When government disappears, it's not as if paradise will take its place. When governments are gone, other interests will take their place," "My claim is that we should focus on the values of liberty. If there is not government to insist on those values, then who?" "The single unifying force should be that we govern ourselves." ^[38]

Free Culture[link]

In 2002, Lessig received the Award for the Advancement of Free Software from the Free Software Foundation (FSF), and on March 28, 2004 he was elected to the FSF's Board of Directors.^[39] In 2006, Lessig was elected to the American Academy of Arts and Sciences.^[40] Lessig is also a well-known critic of copyright term extensions.

He proposed the concept of "Free Culture".^[41] He also supports free software and open spectrum.^[42] At his Free Culture keynote at the O'Reilly Open Source Convention 2002, half of his speech was about software patents, which he views as a rising threat to both free/open source software and innovation.

Lessig and Jimmy Wales at the iCommons iSummit07 in Dubrovnik.

In March 2006, Lessig joined the board of advisors of the Digital Universe project.^[43] A few months later, Lessig gave a talk on the ethics of the Free Culture Movement at the 2006 Wikimania conference.

Lessig claimed in 2009 that, because 70% of young people obtain digital information from illegal sources, the law should be changed.^[44]

Net neutrality[link]

Lessig has long been known to be a supporter of Net Neutrality. In 2006, he testified before the US Senate that he believed Congress should ratify Powell's four Internet freedoms and add a restriction to access-tiering, i.e. he does not believe content providers should be charged different amounts. The reason is that the Internet, under the neutral end-to-end design is an invaluable platform for innovation, and the economic benefit of innovation would be threatened if large corporations could purchase faster service to the detriment of newer companies with less capital. However, Lessig has supported the idea of allowing ISPs to give consumers the option of different tiers of service at different prices. He was reported on CBC News as saying that he has always been in favour of allowing internet providers to charge differently for consumer access at different speeds. He said, "Now, no doubt, my position might be wrong. Some friends in the network neutrality movement as well as some scholars believe it is wrong - that it doesn't go far enough. But the suggestion that the position is 'recent' is baseless. If I'm wrong, I've always been wrong." ^[45]

Combating sexual abuse[link]

In May 2005, it was revealed that Lessig had experienced sexual abuse by the director at the American Boychoir School which he had attended as an adolescent.^[46] Lessig reached a settlement with the school in the past, under confidential terms. He revealed his experiences in the course of representing another student victim, John Hardwicke, in court.^[47] In August 2006, he succeeded in persuading the New Jersey Supreme Court to restrict the scope of immunity radically, which had protected nonprofits that failed to prevent sexual abuse from legal liability.^[48]

Media references[link]

Lessig appears as a character in a 2005 episode of the television political drama The West Wing ("The Wake Up Call", season 6, episode 14). Lessig’s character, portrayed by Christopher Lloyd, is intended to be a realistic depiction including such details as citing his book The Future of Ideas and his expertise in Eastern European constitutional law.^[49]

Artist group Monochrom performed a "Love Song for Lessig" on Boing Boing TV in the November 15, 2007 episode.^[50] The German term "lässig" (meaning "cool" or "relaxed") is pronounced the same as Lessig's last name, and "Love Song for Lessig" uses the homonym for humor.

"Prometeus - The Media Revolution", a video produced by Italian internet consulting company Casaleggio Associati that attempts to predict the future of media over the next 40 to 50 years, proposes Lawrence Lessig to become the new US Secretary of Justice and declare copyright to be illegal in 2020.

Legal challenges[link]

Lessig's political opinions on copyright law have led to legal challenges where he has attempted to put them into action without legislative change. In March 2003 he acknowledged severe disappointment with his Supreme Court defeat in the Eldred copyright-extension case, where he unsuccessfully tried to convince Chief Justice William Rehnquist, who has sympathies for de-regulation, to back his "market-based" approach to intellectual property regulation.^[51]

Notable cases[link]

• Hardwicke v. American Boychoir (representing plaintiff John Hardwicke) Pending^[48]
• Golan v. Gonzales (representing multiple plaintiffs)
• Eldred v. Ashcroft (representing plaintiff Eric Eldred) Lost
• Kahle v. Ashcroft—(also see Brewster Kahle) Dismissed
• United States v. Microsoft (special master and author of an amicus brief addressing the Sherman Act^[52])
  • Lessig was appointed special master by Judge Thomas Penfield Jackson in 1997. The appointment was vacated by the United States Court of Appeals for the District of Columbia Circuit.^[53] The appellate court ruled that the powers granted to Lessig exceeded the scope of the Federal statute providing for special masters. Judge Jackson then solicited Lessig’s amicus brief.
  • Lessig himself says about this appointment: "Did Justice Jackson pick me to be his special master because he had determined I was the perfect mix of Holmes and Ed Felten? No, I was picked because I was a Harvard Law Professor teaching the law of cyberspace. Remember: So is 'fame' made."^[54]
• MPAA v. 2600 (submitted an amicus brief with Yochai Benkler in support of 2600^[55])

Personal life[link]

Lessig is married to Bettina Neuefeind, and is the father of three children (Willem, Teo, and Tess) [1].

Bibliography[link]

• Code and Other Laws of Cyberspace (2000) ISBN 978-0-465-03913-5
• The Future of Ideas (2001) ISBN 978-0-375-50578-2 - available as a free Creative Commons Attribution-NonCommerical (by-nc)
• Free Culture (2004) ISBN 978-1-59420-006-9 - available as a free Creative Commons Attribution-NonCommercial
• Code: Version 2.0 (2006) ISBN 978-0-465-03914-2 - available as a free Creative Commons Attribution-ShareAlike (by-sa)
• Remix: Making Art and Commerce Thrive in the Hybrid Economy (2008) ISBN 978-1-59420-172-1 - available as a free Creative Commons Attribution-NonCommercial-NoDerivs (by-nc-nd)
• Republic, Lost: How Money Corrupts Congress--and a Plan to Stop It (2011) ISBN 978-0-446-57643-7

See also[link]

• 99 Percent Declaration
• Copyleft
• Free software movement
• Free content
• FreeCulture.org
• Open educational resources
• Gratis versus Libre
• Open content
• Law of the Horse
• Lobbying in the United States
• Second Constitution of the United States proposal for constitutional reform

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Lawrence Lessig

Wikimedia Commons has media related to: Lawrence Lessig

• Official website Lessig (includes blog 2002-2009)
• Official website Lessig Blog, v2
• Lawrence Lessig on Twitter
• Lawrence Lessig's channel on YouTube
• Lawrence Lessig at Harvard Law School
  • Profile at the Edmond J. Safra Center for Ethics
• Rootstrikers
• Lawrence Lessig at TED Conferences
• Appearances on C-SPAN
  • C-SPAN Q&A interview with Lessig, November 20, 2011
• Lawrence Lessig on Charlie Rose
• Lawrence Lessig at the Internet Movie Database
• Works by or about Lawrence Lessig in libraries (WorldCat catalog)
• Lawrence Lessig collected news and commentary at The New York Times
• Republic, Lost: How Money Corrupts Congress—and a Plan to Stop It talk by Lawrence Lessig

Michael Moore
Moore in New York to promote his memoir Here Comes Trouble, September 2011
Born	Michael Francis Moore (1954-04-23) April 23, 1954 (age 58) Flint, Michigan, United States[1]
Alma mater	University of Michigan–Flint
Occupation	Actor, director, screenwriter, producer
Years active	1972–present[2]
Religion	Roman Catholic[3]
Spouse	Kathleen Glynn (1991–present)
Website
michaelmoore.com

Michael Francis Moore (born April 23, 1954) is an American filmmaker, author, social critic and activist.^[4] He is the director and producer of Fahrenheit 9/11, which is the highest-grossing documentary of all time.^[5] His films Bowling for Columbine and Sicko also place in the top ten highest-grossing documentaries.^[5] In September 2008, he released his first free movie on the Internet, Slacker Uprising, which documented his personal quest to encourage more Americans to vote in presidential elections.^[6] He has also written and starred in the TV shows TV Nation and The Awful Truth.

Moore criticizes globalization, large corporations, assault weapon ownership, U.S. Presidents Bill Clinton^[7] and George W. Bush, the Iraq War, the American health care system, and capitalism in his written and cinematic works.

Personal life[link]

Moore was born in Flint, Michigan,^[1] and raised in Davison, a suburb of Flint, by parents Veronica (née Wall), a secretary, and Frank Moore, an automotive assembly-line worker.^[8][9][10] At that time, the city of Flint was home to many General Motors factories, where his parents and grandfather worked. His uncle LaVerne was one of the founders of the United Automobile Workers labor union and participated in the Flint Sit-Down Strike.^[11]

Moore was brought up Catholic,^[12] attended parochial St. John's Elementary School for primary school and later attended St. Paul's Seminary in Saginaw, Michigan, for a year.^{[13][8][14][15][16]} He then attended Davison High School, where he was active in both drama and debate,^[17] graduating in 1972. As a member of the Boy Scouts of America, he achieved the rank of Eagle Scout.^[8] At the age of 18, he was elected to the Davison school board.^[18]

Since 1990, Moore has been married to producer Kathleen Glynn,^[19] with whom he has a stepdaughter named Natalie. Moore is a Catholic,^[3][20] but has said he disagrees with church teaching on subjects such as abortion^[21] and same-sex marriage.^[22]

Following the Columbine High School massacre, Moore acquired a life membership to the National Rifle Association (NRA). Moore said that he initially intended to become the NRA's president and dismantle it, but he soon dismissed the plan as too difficult.^[23][24] Observers such as Dave Kopel noted that there was no chance of that happening;^[25] authors David T. Hardy and Jason Clarke wrote about how Moore failed to discover that the NRA selects a president not by membership vote but by a vote of the board of directors.^[26]

In 2005 Time magazine named Moore one of the world's 100 most influential people.^[27] Also in 2005, Moore started the annual Traverse City Film Festival in Traverse City, Michigan.

Career[link]

After dropping out of the University of Michigan–Flint following his freshman year (where he wrote for the student newspaper The Michigan Times), Moore worked at the local Buick plant.^[28] At 22 he founded the alternative weekly magazine The Flint Voice, which soon changed its name to The Michigan Voice as it expanded to cover the entire state. In 1986, when Moore became the editor of Mother Jones, a liberal political magazine, he moved to California and The Michigan Voice was shut down.

Moore at the 66th Venice International Film Festival in 2009

After four months at Mother Jones, Moore was fired. Matt Labash of The Weekly Standard reported this was for refusing to print an article by Paul Berman that was critical of the Sandinista human rights record in Nicaragua.^[29] Moore refused to run the article, believing it to be inaccurate. "The article was flatly wrong and the worst kind of patronizing bullshit. You would scarcely know from it that the United States had been at war with Nicaragua for the last five years."^[30] Moore believes that Mother Jones fired him because of the publisher's refusal to allow him to cover a story on the GM plant closings in his hometown of Flint, Michigan. He responded by putting laid-off GM worker Ben Hamper (who was also writing for the same magazine at the time) on the magazine's cover, leading to his termination. Moore sued for wrongful dismissal, and settled out of court for $58,000, providing him with seed money for his first film, Roger & Me.^[31]

Directing/producing[link]

Roger & Me

Moore first became famous for his 1989 film, Roger & Me, a documentary about what happened to Flint, Michigan, after General Motors closed its factories and opened new ones in Mexico, where the workers were paid much less. Since then Moore has been known as a critic of the neoliberal view of globalization. "Roger" is Roger B. Smith, former CEO and president of General Motors. Harlan Jacobson, editor of Film Comment magazine, said that Moore muddled the chronology in Roger & Me to make it seem that events that took place before G.M.’s layoffs were a consequence of them. Critic Roger Ebert defended Moore's handling of the timeline as an artistic and stylistic choice that had less to do with his credibility as a filmmaker and more to do with the flexibility of film as a medium to express a satiric viewpoint.^[32]

Pets or Meat: The Return to Flint

(1992) is a short (23-minute) documentary film that was aired on PBS. It is based on the feature-length film Roger & Me (1989) by Michael Moore. The film's title refers to Rhonda Britton, a Flint, Michigan, resident featured in both the 1989 and 1992 films who sells rabbits as either pets or meat.^[33]

Canadian Bacon

In 1995, Moore released a satirical film, Canadian Bacon, which features a fictional US president (played by Alan Alda) engineering a fake war with Canada in order to boost his popularity. It is noted for containing a number of Canadian and American stereotypes, and for being Moore's only non-documentary film. The film is also one of the last featuring Canadian-born actor John Candy, and also features a number of cameos by other Canadian actors. In the film, several potential enemies for America's next great campaign are discussed by the president and his cabinet. (The scene was strongly influenced by the Stanley Kubrick film Dr. Strangelove.) The President comments that declaring war on Canada was as ridiculous as declaring war on international terrorism. His military adviser, played by Rip Torn, quickly rebuffs this idea, saying that no one would care about "... a bunch of guys driving around blowing up rent-a-cars."

The Big One

In 1997, Moore directed The Big One, which documents the tour publicizing his book Downsize This! Random Threats from an Unarmed American, in which he criticizes mass layoffs despite record corporate profits. Among others, he targets Nike for outsourcing shoe production to Indonesia.

Bowling for Columbine

Moore's 2002 film, Bowling for Columbine, probes the culture of guns and violence in the United States, taking as a starting point the Columbine High School massacre of 1999. Bowling for Columbine won the Anniversary Prize at the 2002 Cannes Film Festival^[34] and France's César Award as the Best Foreign Film. In the United States, it won the 2002 Academy Award for Documentary Feature. It also enjoyed great commercial and critical success for a film of its type and became, at the time, the highest-grossing mainstream-released documentary (a record now held by Moore's Fahrenheit 9/11).^[5] It was praised by some for illuminating a subject avoided by the mainstream media.

Fahrenheit 9/11

Fahrenheit 9/11 examines America in the aftermath of the September 11, 2001 attacks, particularly the record of the Bush administration and alleged links between the families of George W. Bush and Osama bin Laden. Fahrenheit was awarded the Palme d'Or,^[35] the top honor at the 2004 Cannes Film Festival; it was the first documentary film to win the prize since 1956. Moore later announced that Fahrenheit 9/11 would not be in consideration for the 2005 Academy Award for Documentary Feature, but instead for the Academy Award for Best Picture. He stated he wanted the movie to be seen by a few million more people via a television broadcast prior to election day. According to Moore, "Academy rules forbid the airing of a documentary on television within nine months of its theatrical release", and since the November 2 election was fewer than nine months after the film's release, it would have been disqualified for the Documentary Oscar.^[36] However, Fahrenheit received no Oscar nomination for Best Picture. The title of the film alludes to the classic book Fahrenheit 451 about a future totalitarian state in which books are banned; according to the book, paper begins to burn at 451 degrees Fahrenheit. The pre-release subtitle of the film confirms the allusion: "The temperature at which freedom burns." At the box office, as of 2010 Fahrenheit 9/11 is the highest-grossing documentary of all time, taking in over US$200 million worldwide, including United States box office revenue of almost US$120 million.^[5] In February 2011, Moore sued producers Bob and Harvey Weinstein for US$2.7 million in unpaid profits from the film, claiming they used "Hollywood accounting tricks" to avoid paying him the money.^[37]

Michael Moore at the 2007 Cannes Film Festival receiving a standing ovation for Sicko

Sicko

Moore directed this film about the American health care system, focusing particularly on the managed-care and pharmaceutical industries. At least four major pharmaceutical companies — Pfizer, Eli Lilly, AstraZeneca, and GlaxoSmithKline — ordered their employees not to grant any interviews to Moore.^[38][39][40] According to Moore on a letter at his website, "roads that often surprise us and lead us to new ideas—and challenge us to reconsider the ones we began with have caused some minor delays." The film premiered at the Cannes Film Festival on May 19, 2007, receiving a lengthy standing ovation, and was released in the U.S. and Canada on June 29, 2007.^[41] The film was the subject of some controversy when it became known that Moore went to Cuba with chronically ill September 11th rescue workers to shoot parts of the film. The United States is looking into whether this violates the trade embargo. The film is currently ranked the fourth highest grossing documentary of all time^[5] and received an Academy Award nomination for Best Documentary Feature.^[42]

Captain Mike Across America

Moore takes a look at the politics of college students in what he calls "Bush Administration America" with this film shot during Moore's 60-city college campus tour in the months leading up to the 2004 election.^[43][44] The film was later re-edited by Moore into Slacker Uprising.

Capitalism: A Love Story

On September 23, 2009, Moore released a new movie titled Capitalism: A Love Story, which looks at the late-2000s financial crisis and the U.S. economy during the transition between the incoming Obama Administration and the outgoing Bush Administration. Addressing a press conference at its release, Moore said, "Democracy is not a spectator sport, it's a participatory event. If we don't participate in it, it ceases to be a democracy. So Obama will rise or fall based not so much on what he does but on what we do to support him."^[45]

Writing[link]

Moore has written or co-written eight non-fiction books, mostly on similar subject matter to his documentaries. Stupid White Men (2001) is ostensibly a critique of American domestic and foreign policy but, by Moore's own admission, is also "a book of political humor."^[46] Dude, Where's My Country? (2003), is an examination of the Bush family's relationships with Saudi royalty, the Bin Laden family, and the energy industry, and a call-to-action for liberals in the 2004 election. Several of his works have made bestseller lists.

Acting[link]

Moore has dabbled in acting, following a 2000 supporting role in Lucky Numbers as the cousin of Lisa Kudrow's character, who agrees to be part of the scheme concocted by John Travolta's character. He also had a cameo in his Canadian Bacon as an anti-Canada activist. In 2004, he did a cameo, as a news journalist, in The Fever, starring Vanessa Redgrave in the lead.