File:Cameron Mitchell, Doris Day, and James Cagney.jpg
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Summary
| Description |
English: Cameron Mitchell, Doris Day, and James Cagney in a publicity still for Love Me or Leave Me (1955); republished in this instance for the 1986 airing of the film on the Holiday Network |
| Date | 1955; repub. 9 Mar 1984 |
| Source |
eBay Front and back |
| Author | MGM |
Licensing
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This work is in the public domain because it was published in the United States between 1978 and March 1, 1989 without a copyright notice, and its copyright was not subsequently registered with the U.S. Copyright Office within 5 years. Unless its author has been dead for several years, it is copyrighted in the countries or areas that do not apply the rule of the shorter term for US works, such as Canada (50 pma), Mainland China (50 pma, not Hong Kong or Macau), Germany (70 pma), Mexico (100 pma), Switzerland (70 pma), and other countries with individual treaties. See this page for further explanation.
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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."
File history
Click on a date/time to view the file as it appeared at that time.
| Date/Time | Thumbnail | Dimensions | User | Comment | |
|---|---|---|---|---|---|
| current | 02:39, 28 November 2018 | | 675 × 471 (49 KB) | Drown Soda | Cropping border/removing watermark |
| 02:36, 28 November 2018 |  | 1,600 × 1,287 (248 KB) | Drown Soda | Front | |
| 02:36, 28 November 2018 |  | 1,600 × 1,293 (101 KB) | Drown Soda | User created page with UploadWizard |
File usage
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