Can I own my writings and sell them too? A brief history of copyright in China from the late Qing era to Mao's China

Han, Dong

doi:10.1080/17544750.2010.499636

Cited by 6 publications

(5 citation statements)

References 8 publications

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“…Researchers have examined China's failure to develop its own notion of intellectual property (Alford 1995;Han 2010;Li & Chang 2007). A thorough discussion is beyond the scope of this article; however, the following section briefly outlines the major factors shaping the development of an intellectual property system in China.…”

Section: Intellectual Property In China Past and Presentmentioning

confidence: 99%

The Moralities of Intellectual Property: Subtitle Groups as Cultural Brokers in China

Hsiao¹

2014

The Asia Pacific Journal of Anthropology

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This study investigates the moralities of intellectual property developed in the context of an underground network of Internet-based amateur translators in China. These translators are dedicated to unofficially subtitling and disseminating unauthorised US television programs and movies to Chinese audiences. I examine how translators have developed new moralities through their subtitling practices in the terrain of media technology. I explore how the subtitle community exists as a moral enterprise and how morality is constructed through subtitlers' disciplined practice, volunteer work and devotion to the media programs. I argue that regardless of their different opinions, subtitlers moralise their activities based on the conviction that Chinese youth and young adults want more knowledge, in spite of the state's media monopoly, and that fulfilling this need is a public good. Such a morality honours an unofficial moral code that is parallel to official state policy.

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Section: Intellectual Property In China Past and Presentmentioning

confidence: 99%

The Moralities of Intellectual Property: Subtitle Groups as Cultural Brokers in China

Hsiao¹

2014

The Asia Pacific Journal of Anthropology

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“…China’s relative autonomy from the capitalist world system and its negotiated and gradual integration after the late 1970s had yet to generate the need for a capitalist IPR system to ensure profit and incentivize innovation. This absence of a copyright regime in cultural production under socialist state patronage reflected the broader national climate at the time (Han, 2010). The incentive for creating new products mainly came from the demand of foreign businesses sourcing products from the No.…”

Section: When Platform Capitalism Meets Family Productionmentioning

confidence: 99%

Platformizing family production: The contradictions of rural digital labor in China

Zhang

2021

Econ. labour relat. rev.

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How is the rise of platform capitalism reinventing the traditional regime of familial production, while at the same time being energized by it? How do the historically informed, lived experiences of rural e-commerce entrepreneurs or workers in China help reconceptualize digital labor and platform studies? Deploying the analytic of platformized family production, this article addresses these questions through a deep description of the experiences of variously positioned platform-based and mediated laborers in an e-commerce village in East China. I argue that the ongoing process of platformizing family production is profoundly contradictory. As an alternative to a model of development based on unevenness and the rural-urban divide, village e-commerce has created opportunities for peasants and marginalized urban youth to achieve social mobility. However, it also shapes a new regime of value that privileges the individualized e-commerce entrepreneur as an ideal subject, and fetishizes and instrumentalizes innovation and creativity in conformity with the global intellectual property regime. These tendencies not only contradict the reality of collective labor organization both on e-commerce platforms and in villages, but also conflict with the indispensable role of manual labor in the production process—reinforcing rather than overcoming existing inequalities and stratification in rural China. JEL Codes: J16, J61, L86, Q55, R12

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“…This is partly because copyright issues in publishing tend to involve fewer parties and are relatively straightforward, unlike television production, which always includes various forms of collective creative input. In addition, China has had a long history of copyright in the printing sector (Han 2010), and media companies and authors today can quickly pick up old norms and practices. Television in China was born under the Communist Party without a legacy of copyright.…”

Section: Copyright With Chinese Characteristics?mentioning

confidence: 99%

“…Between 1966 and 1976 during the Cultural Revolution, gaochou was virtually eliminated. For more information, see Han (2010).…”

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confidence: 99%

Copyrighting Media Labor and Production

Han

2011

Television & New Media

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Can I own my writings and sell them too? A brief history of copyright in China from the late Qing era to Mao's China

Cited by 6 publications

References 8 publications

The Moralities of Intellectual Property: Subtitle Groups as Cultural Brokers in China

The Moralities of Intellectual Property: Subtitle Groups as Cultural Brokers in China

Platformizing family production: The contradictions of rural digital labor in China

Copyrighting Media Labor and Production

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