File:Shirley Temple 1949.jpg

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[編輯]
描述
English: Shirley Temple in Mr. Belvedere Goes to College (1949). Courtesy of 20th Century Fox.
日期
來源 https://web.archive.org/web/20190713152849/https://www.ebay.ca/itm/BEAUTIFUL-SHIRLEY-TEMPLE-AS-A-YOUNG-WOMAN-1949-PHOTO-IN-NEAR-MINT-CONDITION/182780611619?hash=item2a8e92cc23:g:tFYAAOSw9eVXVYxe
作者 未知Unknown author

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本作品在美國屬於公有領域，因為其於1929至1977年（包括）間在美國出版，且沒有著作權聲明。更多詳細資訊，請參閱共享資源:赫特圖表，以及就出版的公共藝術品的詳細說明。請注意美國的作品在不適用較短期限法則的管轄區可能仍然受版權保護（基於作者的逝世日期），例如加拿大（作者逝世後50年）、中國大陸（作者逝世後50年，不包括香港和澳門）、德國（作者逝世後70年）、墨西哥（作者逝世後100年） 、瑞士（作者逝世後70年）及其他有本地條約的國家。

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Additional source information:

English: This is a publicity still taken and publicly distributed to promote a film actor.
  • 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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