Pastiche: Woman's World

“滴答；滴答；滴答”：这可能是克里斯蒂安·马克莱的作品《时钟》的声音，该作品于2010年发布，最近一次在泰特现代美术馆展出是在2018年9月。由数百个时间片段组成，从版权范围内的电影中精选出来，被描述为“电影的编年史、现代世界的历史和对时间之谜的沉思”。最重要的是，它是一件伟大的艺术作品，触及了人类的真理。《卫报》2018年9月。有人说它是“有史以来最受欢迎的视频艺术作品，向全世界的观众(排着长队)演奏。”它也受到了评论界的好评，在2011年的威尼斯双年展上获得了金狮奖。时钟由数百部现有电影的部分组成，这些部分是在没有询问原始电影版权所有者的情况下拍摄和重新制作的，也没有向它们支付版税。版权法通常会防止未经许可而采用和重新使用受版权保护的现有作品。在这种情况下，这并不是这样做的，那么版权法的哪个方面可能允许马克莱以这种方式获取并重新制作原始电影的部分内容？这个网络的目的是将具有不同学科专长的个人聚集在一起-来自艺术实践、法律、学术、电影制作和发行以及权利保护的专家-询问版权法是否允许将现有作品重新用于效仿的目的。该网络成员将以Co-I Graham Rawle的高度原创的女性世界(效仿)电影为焦点，其调查结果将广泛适用于其他效仿的工作，网络成员将讨论，-什么是仿冒？-在艺术实践中如何理解仿冒？-版权法中仿冒的参数是什么，它与采样或剪切粘贴有什么区别？其目的是让仿冒作品制作和分发链中的每个利益相关者了解他们工作的版权环境，并提供工具来帮助评估他们的活动(应该)(是否)合法。因此，这些问题的基础是围绕著作权法是否应该遵循实践，或者实践是否应该由法律塑造，以及法律应该如何平衡版权所有者和作品使用者的相互冲突的要求的更深层次的调查。这部作品的结果将是：一份列出网络成员对这些问题的共识的权威意见，可以用来为版权法、仿制品的实践和仿制品的传播提供信息；一篇关于仿制品和版权的共同撰写的同行评议论文；一篇对话中的文章；一篇关于艺术教师对仿作的态度的定性研究结果的论文；一个网站，其中包含对Graham Rawle的采访录音和三个谈话负责人，清楚易懂地解释网络及其会议的目的，并在针对重复使用现有作品的年轻人的科学节或黑客马拉松等公共活动上介绍网络的调查结果。

'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.