Video recordings for the hearing impaired
Brett Gaylor; Mila Aung-Thwin; Kat Baulu; Germaine Ying Gee Wong; Daniel Cross; Ravida Din; Sally Bochner; Mark Ellam; Tony Asimakopoulos; Olivier Alary; Girl Talk; Lawrence Lessig; Cory Doctorow; Gilberto Gil; Marybeth Peters; Mouse Liberation Front.; Documentary (Television network); Eyesteelfilm (Firm); National Film Board of Canada.; Canal D.; Basement Tapes Productions.; Disinformation Company.
Originally released as a motion picture in 2008.
Special features: Additonal scenes; Mashup favorites.
|餘額：||Cinematographer & associate director, Mark Ellam ; editors, Brett Gaylor, Tony Asimakopoulos ; original music, Olivier Alary.|
|表演者：||Interviewer: Brett Gaylor ; guests: Girl Talk, Lawrence Lessig, Cory Doctorow, Gilberto Gil, Marybeth Peters, Mouse Liberation Front.|
|描述：||1 videodisc (86 min.) : sound, color ; 4 3/4 in.|
|詳述：||DVD, NTSC region 0, widescreen (1.77:1); Dolby Digital 5.1 surround or stereo.|
|内容：||Meet girl talk --
Copyright vs copyleft --
Culture always builds on the past --
Asking permission --
The past tries to control the future --
Preachers, lawyers and criminals --
Open source cinema --
The king of remix --
Culture jam! --
Our culture is becoming less free --
Back in the people's hands --
Which road to the future --
The revolution will be digitized.
|責任：||documentary presents ; an EyeSteelFilm ; in co-production with the National Film Board of Canada ; producer, Mila Aung-Thwin ; producers (NFB), Kat Baulu, Germaine Ying-Gee Wong ; executive producers, Daniel Cross, Mila Aung-Thwin ; executive producers (NFB), Ravida Din, Sally Bochner ; written & directed by Brett Gaylor ; produced in association with Documentary and Canal D ; Basement Tapes Productions Inc.|
Explores the complexities of intellectual property in the era of peer-to-peer file sharing. Interviews key figures in the debate, including Gregg Gillis, the Pittsburgh biomedical engineer who moonlights as Girl Talk, a mash-up artist rearranging the pop chart's DNA with his incongruous, entirely sample-based songs. A mash-up in itself, this shatters the wall between users and producers, and challenges the thresholds of 'fair use.'