LEADER 02341nam a22005655i 4500
001 828701
003 TR_AnAIT
005 20260131054452
007 cr nn 008mamaa
008 151128s2013 xxu| s |||| 0|eng d
020 |a9781137321978|9978-1-137-32197-8
024 7 |a10.1057/9781137321978|2doi
041 |aeng
049 |aTürk Tarih Kurumu Kütüphanesi
050 4|aNX1-820
072 7|aAB|2bicssc
072 7|aART000000|2bisacsh
072 7|aAB|2thema
082 04|a700|223
090 |aDK/29800
100 1 |aPicart, Caroline Joan S.|eauthor.|4aut|4http://id.loc.gov/vocabulary/relators/aut
245 10|aCritical Race Theory and Copyright in American Dance|h[electronic resource] :|bWhiteness as Status Property /|cby Caroline Joan S. Picart.
250 |a1st ed. 2013.
264 1|aNew York :|bPalgrave Macmillan US :|bImprint: Palgrave Macmillan,|c2013.
300 |aXII, 243 p. 6 illus.|bonline resource.
336 |atext|btxt|2rdacontent
337 |acomputer|bc|2rdamedia
338 |aonline resource|bcr|2rdacarrier
347 |atext file|bPDF|2rda
520 |aThe effort to win federal protection for dance in the United States was a racialized and gendered contest. Picart traces the evolution of choreographic works from being federally non-copyrightable to becoming a category potentially copyrightable under the 1976 Copyright Act, specifically examining Loíe Fuller, George Balanchine, and Martha Graham.
650 0|aArts.
650 0|aCommercial law.
650 0|aInformation technology|xLaw and legislation.
650 0|aMass media|xLaw and legislation.
650 0|aDance.
650 0|aRace.
650 0|aPolitical science.
650 14|aArts.
650 24|aCommercial Law.
650 24|aIT Law, Media Law, Intellectual Property.
650 24|aDance.
650 24|aRace and Ethnicity Studies.
650 24|aPolitics and International Studies.
710 2 |aSpringerLink (Online service)
773 0 |tSpringer Nature eBook
776 08|iPrinted edition:|z9781137321961
776 08|iPrinted edition:|z9781349458189
776 08|iPrinted edition:|z9781349458196
856 40|uhttps://doi.org/10.1057/9781137321978
912 |aZDB-2-PTC
912 |aZDB-2-SXL
950 |aPalgrave Theatre & Performance Collection (SpringerNature-41147)
950 |aLiterature, Cultural and Media Studies (R0) (SpringerNature-43723)