Thank you Pip for taking the time to reply.  
Best,Jaime

Sent from Yahoo Mail for iPad


On Sunday, April 19, 2020, 7:06 am, FrameWorks Admin <[email protected]> 
wrote:

Dear Jaime,
I am interested in copyright law and recently took a course about it.Regarding 
online copyright infringement of experimental filmmakers, I can offer this 
message from Jonas Mekas to Kenneth Goldsmith, the founder of Ubuweb, who has 
been very gracious in removing films when asked by filmmakers or their families:
February 27, 2010Ken,It has come to my attention that you have placed  on your 
website several of my films, including THE BRIG, ZEFIRO TORNA, LAST THREE DAYS 
OF ALLEN.  You have done this without asking my permission, wich I consider 
irrespectful of me as a person and as author of the works you have placed on 
your website. I have no income, I  am trying to survive, and any income that I 
can get from my work is VITAL to my existence and cotinuation of my work.  I 
think your website is very valuable for  classics of the past, works of 
deceased  film-makers, etc, but I am alive and working, and all those works 
that you have appropriated are available to purchase through either myself or 
Re:Voir or Anthology.So  I would appreciate very much if you'd remove all my 
works from your website. Thank you,Jonas Mekas
Regarding classics of the past and works of deceased filmmakers, copyright law 
gives families and estates ownership and rights for a determined length of 
time.This link gives detailed information about how much time:  
https://www.whoishostingthis.com/resources/copyright-guide/#copyright-lengthAll 
work in a fixed or recorded form is automatically protected by copyright since 
the Berne convention of 1988.Even transfers of copyright revert back to the 
author after 35 years, to protect authors who bargained away their rights.
Re:Voir actively removes from YouTube any films for which we have a contract 
with the filmmaker or their family and to whom we pay royalties for home video 
sales.In addition we have actively fought to pursue copyright protection in the 
case of perceived infringement, for example for Isidore Isou’s daughter 
Catherine Goldstein or for Maya Deren’s heir Tavia Ito.Many estates are 
struggling to preserve and archive the work or in some cases to support family 
members. Therefore I think it is justified to pay them royalties that are 
due.Also the filmmakers, families or the distributor have invested heavily to 
make high quality transfers, and they are justified in recovering their 
expenses.It is the mission of coops and archives and distributors like Re:Voir 
to make these films available, and these are not rich institutions but 
struggling organizations whose members are mostly underpaid and overworked. The 
families are certainly not rich. Therefore we support legal streaming and 
download and make the effort to remove unauthorized copies.
I hope this helps!Pip Chodorov





On Apr 19, 2020, at 2:23 AM, jaime cleeland <[email protected]> wrote:
It further promoted a discussion with the Australian filmmaker Peter Tammer.  
Who then emailed me this.  Please read below and feel free to add your opinions.




---------- Forwarded message ---------
From: Peter Tammer <[email protected]>


Now here's my argument: one reason these films are being withdrawn from YouTube 
and other sources is that the estates of the artists are claiming them as 
"property", the same way paintings and sculptures gain value in monetary terms, 
whereas novels by great writers of the past and music compositions by the great 
composers, are free to everyone, except where performance, recordings and 
recording rights come into play. In the case of classical music, novels, 
poetry, etc... these great works are not denied to lovers of the arts.

But in the visual art world, only the rich, or richly endowed museums, can 
hoard the work and deny access to the greater part of humanity. Including us 
who value the work for its own intrinsic value and not as property to be bought 
and sold.
PT





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