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Plik:Kim Henkel y Tobe Hooper en el rodaje de La Masacre de Texas.jpg

Kim_Henkel_y_Tobe_Hooper_en_el_rodaje_de_La_Masacre_de_Texas.jpg (750 × 457 pikseli, rozmiar pliku: 257 KB, typ MIME: image/jpeg)

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Plik Kim Henkel y Tobe Hooper en el rodaje de La Masacre de Texas.jpg znajduje się w Wikimedia Commons – repozytorium wolnych zasobów. Dane z jego strony opisu znajdują się poniżej.

Opis

Opis
English: Kim Henkel and Tobe Hooper during production of The Texas Chain Saw Massacre (1974)
Data Between July and August 1973
Źródło This link to the official Texas Chain Saw Massacre website
Autor Unknown; likely Sallye Richardson or Mary Church who photographed many production stills during filming.
Licencja
(Ponowne użycie tego pliku)
This work is in the public domain in the United States because it was published in the United States between 1930 and 1977, inclusive, without a copyright notice. For further explanation, see Commons:Hirtle chart as well as a detailed definition of "publication" for public art.
Note that it may still be copyrighted in jurisdictions that do not apply the rule of the shorter term for US works (depending on the date of the author's death), such as Canada (50 p.m.a.), Mainland China (50 p.m.a., not Hong Kong or Macao), Germany (70 p.m.a.), Mexico (100 p.m.a.), Switzerland (70 p.m.a.), and other countries with individual treaties.

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Licencja

English: This is a publicity still taken and publicly distributed to promote the subject or a work relating to the subject.
  • As stated by film production expert Eve Light Honathaner in The Complete Film Production Handbook (Focal Press, 2001, p. 211.):
    "Publicity photos (star headshots) have traditionally not been copyrighted. Since they are disseminated to the public, they are generally considered public domain, and therefore clearance by the studio that produced them is not necessary."
  • Nancy Wolff, in The Professional Photographer's Legal Handbook (Allworth Communications, 2007, p. 55.), notes:
    "There is a vast body of photographs, including but not limited to publicity stills, that have no notice as to who may have created them."
  • Film industry author Gerald Mast, in Film Study and the Copyright Law (1989, p. 87), writes:
    "According to the old copyright act, such production stills were not automatically copyrighted as part of the film and required separate copyrights as photographic stills. The new copyright act similarly excludes the production still from automatic copyright but gives the film's copyright owner a five-year period in which to copyright the stills. Most studios have never bothered to copyright these stills because they were happy to see them pass into the public domain, to be used by as many people in as many publications as possible."
  • Kristin Thompson, committee chairperson of the Society for Cinema and Media Studies writes in the conclusion of a 1993 conference of cinema scholars and editors[1], that:
    "[The conference] expressed the opinion that it is not necessary for authors to request permission to reproduce frame enlargements... [and] some trade presses that publish educational and scholarly film books also take the position that permission is not necessary for reproducing frame enlargements and publicity photographs."

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aktualny13:05, 10 gru 2023Miniatura wersji z 13:05, 10 gru 2023750 × 457 (257 KB)DetectivewebUploaded a work by from https://thetexaschainsawmassacre.com/making-the-original-texas-chainsaw-massacre-1974/ with UploadWizard

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