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May 4, 2009 | Matt Schudel, Schudel writes for the Washington Post.
Barbara A. Ringer had just graduated from Columbia University's law school in 1949 when she joined the Copyright Office at the Library of Congress. Within a few years, she set about revising an archaic set of laws that had been in place since 1909 -- before the invention of television or commercial radio, before copying machines and the modern recording industry, let alone cable TV, home computers and the Internet.
February 25, 2013 | By Jon Healey
This week the entertainment industry finally is getting a version of something it has been craving since the original Napster transformed online piracy into a mass-market phenomenon: a new Copyright Alert System that turns Internet service providers into anti-piracy enforcers. It's not as powerful as the major record companies and Hollywood studios have proposed, and it ignores many sources of bootlegged music and movie files online. But it's a start. And if the industry's assumptions are correct, it could make a dent in the problem.
June 19, 1987 | Associated Press
Copyright protection for certain colorized versions of black-and-white motion pictures, a controversial process strongly opposed by creators of the original movies, was approved today for registration by the Copyright Office of the Library of Congress.
November 18, 2008 | Times Wire Services
Google Inc. won preliminary approval of a settlement of copyright lawsuits by publishers and authors in which it will pay $125 million to resolve claims over the company's book-scanning project. U.S. District Judge John Sprizzo in New York issued the order tentatively approving the deal and scheduled a hearing for June 11, when he will further consider the pact's fairness. Mountain View, Calif.-based Google has said the settlement, announced Oct. 28, will enable it to make millions of books searchable and printable online.
June 17, 2007
RE "A Dust-Up Over Old TV Tapes" [Calendar, June 10]: I'm getting tired of stories about how much power copyright holders have in the U.S. and how they're using it to suppress important parts of the culture and keep audiences from enjoying them. Whether it's the prohibitive fees they want to charge Internet radio broadcasters, the denial to American audiences of the wide selection of historical recordings of the '30s, '40s and '50s available to European consumers, or their attacks on the collectors who are posting vintage clips on YouTube, it's clear that U.S. copyright law is no longer encouraging the creative marketplace, but the opposite.
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