« May 2011 | Main | August 2011 »
Its amazing that Glenn Beck managed to survive as a "commentator" as long as he did. Certainly intelligent Conservative opinion is a necessity in our complex political world. As an old fashioned "flaming liberal" I welcome honestly complex debate. But where are the representatives of sharp tongued working people debating with the official commentators on TV? The Big Time Backers on all sides won't give up an inch of their privileged positions!
Ned Bobkoff
Okay... let me ask you this. Can I rewrite some of your dialogue, here and there? Can I delete some of your dialogue and add mine instead? Can I rewrite most of the play and put my name on it, maybe with a tinge-of-guilt disclaimer that this is " based in part on a play by M. Bettencourt"? Can I copy your website and substitute my name for yours?
Arthur Meiselman
You still have controls over your work and permissions to others to use it. As it says on CC website about this license:
This license lets others remix, tweak, and build upon your work even for commercial purposes, as long as they credit you and license their new creations under the identical terms. This license is often compared to "copyleft" free and open source software licenses. All new works based on yours will carry the same license, so any derivatives will also allow commercial use. This is the license used by Wikipedia, and is recommended for materials that would benefit from incorporating content from Wikipedia and similarly licensed projects.
A Creative Commons license is based on copyright. CC licenses apply to works that are protected by copyright law. The kinds of works that are protected by copyright law are books, websites, blogs, photographs, films, videos, songs and other audio & visual recordings, for example. Software programs are also protected by copyright but, as explained below, we do not recommend that you apply a Creative Commons license to software code.
Creative Commons licenses give you the ability to dictate how others may exercise your copyright rights--such as the right of others to copy your work, make derivative works or adaptations of your work, to distribute your work and/or make money from your work. They do not give you the ability to restrict anything that is otherwise permitted by exceptions or limitations to copyright--including, importantly, fair use or fair dealing--nor do they give you the ability to control anything that is not protected by copyright law, such as facts and ideas.
We'll see how it works.
Michael Bettencourt
The commanding operative is: "We'll see how it works."
As I'm sure you're well aware... put it on the internet, make it downloadable, and there is no license!
The mechanics of all of this doesn't trouble me. Disrespect, misuse, and outright stealing has been a fact of publishing since before Gutenberg. It's the principle... it's the implication of "work by committee". And in the theatre, it's the 'facebook' of workshopping and the rise of the chief 'tweeter", the Dramaturg.
My pre-luddite stride is--I write for readers and the actors and their audience. Change not a word without me. I'd rather burn it.
Arthur Meiselman
You had me at the "chief tweeter, the dramaturg" -- I was at a reading the other night at the Public Theatre, and the literary manager came out to introduce the piece -- she had to be older than 18, but not by much, and all I could think was, "I'm screwed." She and I live in different universes, she of the Facebook workshop, which is not for me. I understand the Luddite feeling completely.
Michael Bettencourt
Michael,
I understand the necessity and depth of your feeling regarding copyrights of your work, yet your offer to let people use your work whenever they want to without financial remittance, is a giveaway that works against your own best interests. Passing around your work to theater people you know, or even those you don't know out of trust or admiration is one thing. Yet an open door policy for all comers sets you up as either a flunky or a desperate writer without credibility. I wish you the best in your efforts for recognition.
Ned Bobkoff
The problem is that Edith Stein died and Gertrude Stein hasn't. Edith Stein was a "saint" before the Poppa in Rome made her one. She was a special woman who was at the wrong place at the wrong time. Her "specialness" is what makes her amazing and perplexing life and what she did with it so important, so meaningful. She has been an influence to women everywhere even though so many of them are unaware of it.
Gertrude Stein was in the right place at the right time. She was a mean, self-indulgent keeper and user of other artists work, an accomplished self-promoter who sold her clumsy, deconstructed writing as if she were the scribe of the gods. Today generations of buyers revel in her self-made image and keep her alive. It's a paradox.
Stephanie Anschel
Great review. Such a refreshing critic's look. So glad somebody got over their own hangups and gave this wonderful film the praise it deserves. Did you notice the shots behind the credits? Ferzan used a lot of things he didn't use in the film. It's almost like a short-story version.
Mark B.
Luddites unite! All you have to lose is your place in a digitized world!
Laird
Renate, I love to read your analysis of the whole period. You are such a wonderful and exciting writer. Your articles give me thought and more perspective.Thank you.
Jeanne Stark
This movie is about so many things and I do agree with you it is a strong comment about the art of filmmaking. Ferzan Ozpetek deserves every honor he receives. How beautiful for him to receive the honor in Bangkok.
Alicia Martolli
I also wanted to thank you for the story on the [Italian] film festival in Bangkok. Even with its commercial side it is a valuable idea. I hope they do this everywhere and other national film industries follow them and do the same thing. It can only help in this troubled world of ours.
Alicia Martolli
I saw most of the offerings. They were good, and I agree with the reviewer and the previous poster that Moviemov is important and valuable. Yet I cannot resist commenting that the management needs to spend more time, more effort and more expense in making this event more important and more valuable to the one community that will guarantee their success--the press.
Devin Polik
There's nothing wrong with English, except that it is really not designed for an international role. I'd like to see wider use of Esperanto for unambiguous communication between people of different mother tongues. Am I asking too much?
Bill Chapman
Although the Daystar performance of "Dancing in the Grass" was performed indoors at Nazareth College, because of the threat of rain, it was successful nonetheless. "Wolf", a Daystar transformational work highlighting the natural connection between the human and the animal world, was danced with exceptional dramatic effect by Daniel Fetecua of the Jose Limon company. The suggestive ambiance of haunting Native American music with a solid rhythmic ambiance, coupled with multifaceted changes from one state of being to another, captivated and held firm the metaphysical construct of Native American beliefs that we are all one under the sun.
Ned Bobkoff
This page contains all entries posted to Scene4 Magazine | letters to the editor in July 2011. They are listed from oldest to newest.
May 2011 is the previous archive.
August 2011 is the next archive.
Many more can be found on the Main Index page or by looking through the Archives.
