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File:Shirley Temple 1949.jpg

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摘要

描述
English: Shirley Temple in Mr. Belvedere Goes to College (1949). Courtesy of 20th Century Fox.
日期
来源 https://web.archive.org/web/20190713152849/https://www.ebay.ca/itm/BEAUTIFUL-SHIRLEY-TEMPLE-AS-A-YOUNG-WOMAN-1949-PHOTO-IN-NEAR-MINT-CONDITION/182780611619?hash=item2a8e92cc23:g:tFYAAOSw9eVXVYxe
作者 未知Unknown author

许可协议

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。

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Additional source information:

English: This is a publicity still taken and publicly distributed to promote a film actor.
  • As stated by film production expert Eve Light Honathaner in The Complete Film Production Handbook (Focal Press, 2001, p. 211.):
    "Publicity photos (star headshots) 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, in The Professional Photographer's Legal Handbook (Allworth Communications, 2007, p. 55.), notes:
    "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."
  • 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 of cinema scholars and editors[1], that:
    "[The conference] 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."

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