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hip-hop aesthetics and intellectual property law
"What is the relationship between hip-hop and African American culture in the post-Civil Rights era? Does hip-hop share a criticism of American culture or stand as an isolated and unique phenomenon? How have African American texts responded to the increasing role intellectual property law plays in regulating images, sounds, words, and logos? Parodies of Ownership examines how contemporary African American writers, artists, and musicians have developed an artistic form that Schur terms "hip-hop aesthetics." This book offers an in-depth examination of a wide range of contemporary African American painters and writers, including Anna Deavere Smith, Toni Morrison, Adrian Piper, Colson Whitehead, Michael Ray Charles, Alice Randall, and Fred Wilson. Their absence from conversations about African American culture has caused a misunderstanding about the nature of contemporary cultural issues and resulted in neglect of their innovative responses to the post-Civil Rights era. By considering their work as a cross-disciplinary and specifically African American cultural movement, Schur shows how a new paradigm for artistic creation has developed."--Publisher's description.
From chattel to intellectual property : legal foundations of African American cultural critique -- Critical race theory, signifyin', and cultural ownership -- Defining hip-hop aesthetics -- Claiming ownership in the post--civil rights era -- "Fair use" and the circulation of racialized texts -- "Transformative uses" : parody and memory -- From invisibility to erasure? : the consequences of hip-hop aesthetics.
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Includes bibliographical references (pages 209-226) and index.
Administrative Law & Regulatory Practice
Ann Arbor, Mich. : University of Michigan Press : University of Michigan Library, ©2009