Recreated Subjects, Reconstructed Copies: Considerations on the Photographic Process

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DC Field	Value
dc.identifier	ECF_article_6655
dc.title	Recreated Subjects, Reconstructed Copies: Considerations on the Photographic Process
dc.contributor.author	Petri Grischka
dc.publisher	Edizioni Ca’ Foscari - Digital Publishing, Fondazione Università Ca’ Foscari
dc.type	Research Article
dc.language.iso	en
dc.identifier.uri	http://edizionicafoscari.it/en/edizioni4/riviste/venezia-arti/2021/1/recreated-subjects-reconstructed-copies-considerat/
dc.description.abstract	This article considers the dichotomy of originals and copies in the specific context of photographs of objects that recreate an existing work of art or a documentary photograph. The examples span the period from the mid-nineteenth century to contemporary photographic practices. The traditional legal regulation of such copies is unsatisfactory compared with more recent theoretical approaches, as those proposed here. These approaches encompass the two modes of photographic copies after recreated realities: they simultaneously preserve identities and create original alterations.
dc.relation.ispartof	Venezia Arti
dc.relation.ispartof	Vol. 30 \| December 2021
dc.issued	2021-12-21
dc.dateAccepted	2021-09-05
dc.dateSubmitted	2021-06-28
dc.identifier.issn
dc.identifier.eissn	2385-2720
dc.rights	Creative Commons Attribution 4.0 International Public License
dc.rights.uri	http://creativecommons.org/licenses/by/4.0/
dc.identifier.doi	10.30687/VA/2385-2720/2021/07/005
dc.peer-review	yes
dc.subject	Copy
dc.subject	Copy
dc.subject	Copyright law
dc.subject	Copyright law
dc.subject	Originality
dc.subject	Originality
dc.subject	Photography
dc.subject	Photography
dc.subject	Theory
dc.subject	Theory

Research Article
open access peer reviewed

Grischka Petri FIZ Karlsruhe, Leibniz-Institute for Information Infrastructure, Deutschland

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abstract

This article considers the dichotomy of originals and copies in the specific context of photographs of objects that recreate an existing work of art or a documentary photograph. The examples span the period from the mid-nineteenth century to contemporary photographic practices. The traditional legal regulation of such copies is unsatisfactory compared with more recent theoretical approaches, as those proposed here. These approaches encompass the two modes of photographic copies after recreated realities: they simultaneously preserve identities and create original alterations.

Published

Dec. 21, 2021

Accepted

Sept. 5, 2021

Submitted

June 28, 2021

Language

Keywords: Copy • Theory • Copyright law • Photography • Originality

permalink http://doi.org/10.30687/VA/2385-2720/2021/07/005

Copyright: © 2021 Grischka Petri. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.

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