• Journal of the Korean Society for information Management
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• v.34 no.2
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• pp.159-180
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• 2017

This study analyzed changes to copyright policies in KCI journals comparatively using the previous 2 research results published in 2008 and 2016 and then gave insight into the meaning of the changes. The results of the study are as follows: Journals making the subject of copyright public had increased from 34% in 2008 to 67% in 2016. Journals transferring copyright from authors remained almost the same, with only a slight increase from 90% to 91% in the same period. Journals using the term 'publication rights' instead of 'copyright' had decreased; on the other hand, journals using the term 'reproduction right' and 'right of transmission' had increased. Use of copyright transfer agreement had increased from 25% to 50%; on the other hand, self archiving policy remained almost the same, decreasing slightly from 13% to 12%. This study argues that these changes mean the establishment of copyright industrialization for Korean journals and that the publishing bodies appear to be the most powerful main agent among stakeholders participating in scholarly publishing in this process.

• (The) Research of the performance art and culture
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• no.23
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• pp.213-243
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• 2011

Under copyright law, the writer' work is clearly protected, and any later producer who wishes to mount a copyrighted play or musical must obtain a license from the author, which may involve sharing royalties from the subsequent production with the author. Generally, directors do not explicitly enjoy similar legal protection for their creative input into a finished production. This Article explores the unsettled issue of copyright protection for stage direction in America. Firstly, it presents a few lawsuits on behalf of stage direction issues. It examines whether stage directions are possible for copyright protection through some pieces of articles. It looks at the contract form made by SSDC which is national labor union representing stage directors and choreographers. After all, I insist we acknowledge the copyright law and the value of copyright protection for stage directors' creative input into a performing arts production. We should devise the contract forms for stage directors which are to be applicable for each situations of productions.

• Cartoon and Animation Studies
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• s.13
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• pp.1-12
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• 2008

We can make the foundation of culture and contents solid with a mental altitude to make out and protect copyright. It'll be the basis of the cultivating student, the next generation in this field who are majoring in animation, comics and characters now. It will give them a good environment to learn more about copyright and motivate surroundings. With this kind of education, We can make and protect works better. This thesis is a result of study to show how to and when to instruct people copyright even though we have faced constant argument on copyright and new approach to the economic value of cultural contents which has been under industrialization. Also, another big issue is what class would be a good target of the education on copyright. College may be the last place in the regular course for education before starling his or her career. Thus, the education that is focused on the importance of copyright is recommendable at this time. Particularly, the students who are majoring carton, animation and character can keep a good attitude to protect copyrights for others through the timely education on copyright. What's more, we can build better environment for students who will start their career in the field of the cultural contents and copyrights because they will not only try protect copyrights for others but also they know their works will be protected through thls kind of education on copyright. I believe this kind of education in college will promote the development in the field of cultural contents and copyrights. Also, it will support social and economic development In culture after all.