Pastiche: Woman's World

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'Tick, tock; tick tock; tick tock': that could be the sound of Christian Marclay's work, The Clock, which was released in 2010 and most recently shown at the Tate Modern in September 2018. Made up of hundreds of fragments of time, culled from in-copyright films, is has been described as ' a chronicle of cinema, a history of the modern world and a meditation on the mystery of time. It is above all a great work of art that touches the truth of being human.' The Guardian September 2018. It has been said that it is 'the most popular video art work ever, playing to huge crowds (with long queues) across the world. It has also been critically acclaimed, winning the Golden Lion Award at the 2011 Venice Biennale.The Clock is made up of hundred of parts of existing films that have been taken and reworked without asking the owners of the copyright in the original films, nor paying them a royalty. Copyright law would normally prevent the taking and re-use of existing works protected by copyright without seeking permission. That was not done in this case, so what aspect of copyright law might allow Marclay to take and rework parts of the original films in this way? The purpose of this network will bring together individuals with different disciplinary expertise - experts from artistic practice, law, academia, film-making and distribution and rights clearance - to ask whether copyright law allows re-use of existing works for the purposes of pastiche.Using Co-I Graham Rawle's highly original Woman's World (pastiche) film as its focus, the findings of which will be broadly applicable to others working in pastiche, network members will discuss,- What is pastiche? - How is pastiche understood in artistic practice? - What are the parameters of pastiche in copyright law and what distinguishes it from sampling or 'cut and paste'?The intention is inform each stakeholder in the making and distribution chain of pastiche works of the copyright environment in which they work, and provide the tools to help assess whether their activities (should be) (are) lawful. As such, these questions are underpinned by deeper enquiries around whether copyright law should follow practice, or whether practice should be shaped by the law, and how the law should balance competing demands of the owner of copyright and the user of a work.The outcomes of this work will be:An authoritative opinion laying out network members' consensus on these questions which can be used to inform copyright law, pastiche practice and dissemination of pastiche works; a co-authored peer-reviewed paper on pastiche and copyright; an article in The Conversation; a paper on the outcomes of the qualitative research into attitudes of art teachers to pastiche; a web presence containing a recorded interview with Graham Rawle and three talking heads explaining in clear and accessible terms the purpose of the network and its meetings and a presentation on the findings of the network at a public event such as a science festival or hackathon aimed at young people who re-use existing works.