本作品在美国属于公有领域，因为其于1929至1977年（包括）间在美国出版，且没有著作权声明。更多详情，请参见共享资源:赫特图表以及公共艺术品“出版”的详细说明。 请注意此作品在对美国作品不适用较短期限法则的管辖区可能仍然受版权保护（基于作者的逝世日期），例如加拿大（作者逝世后70年）、中国大陆（作者逝世后50年，不包括香港和澳门）、德国（作者逝世后70年）、墨西哥（作者逝世后100年）、瑞士（作者逝世后70年）及其他有本地条约的国家。 العربية ∙ беларуская (тарашкевіца) ∙ čeština ∙ Deutsch ∙ Ελληνικά ∙ English ∙ español ∙ français ∙ Bahasa Indonesia ∙ italiano ∙ 日本語 ∙ 한국어 ∙ македонски ∙ Nederlands ∙ português ∙ русский ∙ sicilianu ∙ slovenščina ∙ ไทย ∙ Tiếng Việt ∙ 中文（简体） ∙ 中文（繁體） ∙ +/−

本作品属于公有领域，因为其是于1929~1963年之间在美国出版，且无论其是否具有著作权声明，它并未进行著作权更新。更多信息请参考Commons:Hirtle chart/zh及著作权更新日志。请注意该作品在其他对美国作品不适用较短期限法则的司法管辖区仍然受著作权保护（基于作者的逝世日期），如加拿大（作者过世后70年）、中国大陆（作者过世后50年，不包括香港和澳门）、德国（作者过世后70年）、墨西哥（作者过世后100年）、瑞士（作者过世后70年）及其他有本地条约的国家。 العربية ∙ Deutsch ∙ English ∙ español ∙ français ∙ galego ∙ italiano ∙ 日本語 ∙ 한국어 ∙ македонски ∙ português ∙ português do Brasil ∙ русский ∙ sicilianu ∙ slovenščina ∙ українська ∙ 简体中文 ∙ 繁體中文 ∙ +/−

Additional source information: This is a publicity photo taken to promote a film actor. As stated by film production expert Eve Light Honthaner in The Complete Film Production Handbook, (Focal Press, 2001 p. 211.):

"Publicity photos have traditionally not been copyrighted. Since they are disseminated to the public, they are generally considered public domain, and therefore clearance by the studio that produced them is not necessary."

Nancy Wolff, includes a similar explanation:

"There is a vast body of photographs, including but not limited to publicity stills, that have no notice as to who may have created them." (The Professional Photographer's Legal Handbook By Nancy E. Wolff, Allworth Communications, 2007, p. 55.)

Film industry author Gerald Mast, in Film Study and the Copyright Law (1989) p. 87, writes:

"According to the old copyright act, such production stills were not automatically copyrighted as part of the film and required separate copyrights as photographic stills. The new copyright act similarly excludes the production still from automatic copyright but gives the film's copyright owner a five-year period in which to copyright the stills. Most studios have never bothered to copyright these stills because they were happy to see them pass into the public domain, to be used by as many people in as many publications as possible."

Kristin Thompson, committee chairperson of the Society for Cinema and Media Studies writes in the conclusion of a 1993 conference with cinema scholars and editors, that they "expressed the opinion that it is not necessary for authors to request permission to reproduce frame enlargements. . . [and] some trade presses that publish educational and scholarly film books also take the position that permission is not necessary for reproducing frame enlargements and publicity photographs."[1]