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"Contemporary media authorship is frequently collaborative, participatory, non-site specific, or quite simply goes unrecognized. In this volume, media and film scholars explore the theoretical debates around authorship, intention, and identity within the rapidly transforming and globalized culture industry of new media. Defining media broadly, across a range of creative artifacts and production cultures--from visual arts to videogames, from textiles to television--contributors consider authoring practices of artists, designers, do-it-yourselfers, media professionals, scholars, and others. Specifically, they ask: - What constitutes "media" and "authorship" in a technologically converged, globally conglomerated, multiplatform environment for the production and distribution of content? - What can we learn from cinematic and literary models of authorship--and critiques of those models--with regard to authorship not only in television and recorded music, but also interactive media such as videogames and the Internet? - How do we conceive of authorship through practices in which users generate content collaboratively or via appropriation? - What institutional prerogatives and legal debates around intellectual property rights, fair use, and copyright bear on concepts of authorship in "new media"? By addressing these issues, Media Authorship demonstrates that the concept of authorship as formulated in literary and film studies is reinvigorated, contested, remade--even, reauthored--by new practices in the digital media environment"--

A general misapprehension of what filmmakers do and how films are made has obscured the creative and cognitive complexity of the work women have been doing in film for over one hundred years. Using clips from the multi-award-winning short documentary I Want to Make a Film about Women (Pearlman et al. 2020), the video essay Distributed Authorship: An et al. Proposal of Creative Practice, Cognition, and Feminist Film Histories argues that filmmaking is an instance of "distributed cognition" and offers a provocation about the mythologizing of film authors. It then proposes a small, very small, but significant, very significant, adjustment to the stories we tell about filmmakers. I call this adjustment "et al." and suggest that these five characters and a space are shorthand for an urgently needed change to understandings of collaboration, creativity, and cognition.

'What is Comics Journalism,' and 'Why is the author not dead at all?' Because literature and journalism deal differently with "authorship" and "author," this work renegotiates these concepts. It analyzes the author's importance in comics journalism, especially concerning the verification and authentication of the production process. This study gives a broad and extensive overview of the various forms of contemporary comics journalism, and argues that authorship in comics journalism can only be adequately understood by considering the author both on the textual and extratextual level. By combining comics analyses with cultural, sociological, and literary studies approaches, this study introduces the 'comics journalistic pact,' which is an invisible agreement between author and reader, addressing issues of narration ('voice'), testimony ('face'), and journalistic engagement ('hands'). It categorizes comics journalism as a borderline genre between literature, culture, art, and journalism due to its interdisciplinary nature.

'What is Comics Journalism,' and 'Why is the author not dead at all?' Because literature and journalism deal differently with "authorship" and "author," this work renegotiates these concepts. It analyzes the author's importance in comics journalism, especially concerning the verification and authentication of the production process. This study gives a broad and extensive overview of the various forms of contemporary comics journalism, and argues that authorship in comics journalism can only be adequately understood by considering the author both on the textual and extratextual level. By combining comics analyses with cultural, sociological, and literary studies approaches, this study introduces the 'comics journalistic pact,' which is an invisible agreement between author and reader, addressing issues of narration ('voice'), testimony ('face'), and journalistic engagement ('hands'). It categorizes comics journalism as a borderline genre between literature, culture, art, and journalism due to its interdisciplinary nature.

Intro -- Contents -- Acknowledgments -- Abstract -- Zusammenfassung: "Autorschaft in Comic-Journalismus -- 1 Introduction: Comics, Journalism, and the Author -- 1.1 Comics Journalism and the Comics Journalist -- 1.2 Hypotheses, Key Questions, and Aims -- 1.3 Key Concepts and State of Research -- 1.4 Corpus, Methodological Issues, and Outline -- 2 Theoretical Premises and Generic Constituents of Comics Journalism -- 2.1 Changing Journalistic Field and Profession -- 2.1.1 Defining Journalism -- 2.1.2 Topicality and Relevance -- 2.1.3 Crisis -- 2.1.4 Change -- 2.1.5 List of Challenges -- 2.2 Representation of Facts: Accuracy and Imagination -- 2.2.1 Fake News and Alternative Facts -- 2.2.2 Truth, Essential Truth, and Emotional Truth -- 2.2.3 Imagination and Informed Imagination -- 2.2.4 Objectivity in Journalism -- 2.3 Narrative Mediation -- 2.3.1 Author and Authorship -- 2.3.2 Reality Narrations and Reality References -- 2.3.3 Mediated Authenticity -- 2.4 The Popularity of Drawing(s) -- 2.5 In the Tradition of New Journalism -- 2.6 Classification Categories for Comics Journalism -- 2.6.1 Way and Medium of Publication -- 2.6.2 Duration of Production -- 2.6.3 A Combination of Journalistic Genres -- 3 The Author in the Storyworld: The 'Comics Journalistic Pact -- 3.1 Voice -- 3.1.1 Voice-Giving -- 3.1.2 Narrative Mediation in Comics Journalism -- 3.1.3 First-Person Narration vs. Neutral Documentary-Like Narration -- 3.1.4 Metaization and Self-Referentiality in Comics Journalism -- 3.2 Face -- 3.2.1 The Role of Witnessing -- 3.2.2 The Relationship between Autobiography and Comics Journalism -- 3.2.3 Visual Self-Reflection and the 'Cartoon-Me -- 3.2.4 The Challenge of Collaborative Authorship -- 4 The Author in the ExtratextualWorld -- 4.1 Hands -- 4.1.1 The Comics Journalist as a Handicraftswoman -- 4.1.2 The Comics Journalist as a Messenger.

Editorial, TWC No. 11 (September 15, 2012).

Aman Gebru (University of Houston Law Center) has posted Communal Authorship (University of Richmond Law Review, Forthcoming) on SSRN. Here is the abstract: A literary or artistic expression created by an individual author fits neatly in the copyright system. Many...

Making authors the masters of their own destiny has long been a stated aspiration of copyright. Yet more often than not, the real subjects of American copyright are distributors – book publishers, record labels, broadcasters, and others – who control the rights, bring the lawsuits, and take copyright as their "life-sustaining protection." Much of modern American copyright history, and particularly its legislative history, revolves on distributors either demanding more industry protection or fighting amongst themselves. It is distributors who make the great financial investments in copyrighted works, and distributors who arguably most need the incentives and protections that the system is designed to provide. What then is the distinct role, if any, of the author in the copyright system? Why have an authorial copyright – a copyright that vests rights in authors? Here I suggest a new defense of authorial copyright. The reason is to encourage not just writing, but the invention of new types of writing. Stated otherwise, authorial rights may help support not just competition in the market, but for the market. Such rights, I argue here, can act as a means of seeding new types of creative works, as well as new modes of producing creative works, and new entrants into dissemination. On the aggregate, giving rights to authors can make the monopoly-prone creative industries more decentralized and open to market entry.