Copyright protection generally means that certain uses of a work are lawful only if they are done with the authorization of the owner of the copyright. The most typical are the following:
- copying or reproducing a work
- performing a work in public
- making a sound recording of a work
- making a motion picture of a work
- broadcasting a work
- translating a work
- adapting a work
Under certain national laws, some of these rights, which are referred to, as "economic rights'" are not exclusive rights of authorization but in specific cases, merely rights to remuneration. Some strictly determined uses (for example quotations or the use of works by way of illustration for teaching) are completely free, that is, they require neither authorization of, nor remuneration for, the owner of the copyright. This practice is described as
In addition to economic rights, authors enjoy "moral rights" on the basis of which they have the right to claim their authorship and require that their names be indicated on the copies of the work and in connection with other uses thereof. They also have the right to oppose the mutilation or deformation of their creations.
The owner of a copyright may usually transfer his right or may license certain uses of his work. Moral rights are generally inalienable and remain with the creator even after he has transferred his economic rights, although the author may waive their exercise.
Furthermore there exist rights related to copyright that are referred to as "neighboring rights". In general there are three kinds of neighboring rights: 1) the rights of performing artists in their performances, 2) the rights of producers of phonograms in their phonograms, and 3) the rights of broadcasting organizations in their radio and television programs. Neighboring rights attempt to protect those who assist intellectual creators to communicate their message and to disseminate their works to the public at large.
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During the Kosovo Crisis and during the war that followed, and probably also after it, all sides of the conflict were manipulating their people and others as well, whenever they could. Some of the propaganda shown on TV was as primitive as in World War II, others were subtler. This propaganda started by telling the history of the geographic point of discussion from the own point of view, it went on with the interpretation of the motives of the enemy and finally came to censorship, manipulation of the number of victims ( for more information see:
Many journalists and scientists are still working to detect more propaganda and disinformation stories.
An interesting detail about this war was that more people than ever before took their information about the war out of the internet. In part this had to do with the biased TV-reports on all sides. All parties put their ideas and perspectives in the net, so one could get an overview of the different thoughts and types of disinformation.
One of the big lies of
The Serbs were not better than Western governments and media, which worked together closely. Serb TV showed the bombed targets and compared persons like
More:
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Being itself under the umbrella of the
In this essay, Friedrich Kittler, one of the world's leading media theorists and media historicist, offers a concise and fascinating history of communication technologies in general terms from its beginnings up to now, provoking new insights by showing interesting interdependencies.
http://www.ctheory.com/ga1.14.html