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Die neue Doku Copy­right Cri­mi­nals über Urhe­ber­recht, Sam­pling und Mashups.

Bil­der und Texte von der Film­web­site

Bei YouTube ist die Doku auch auf­ge­taucht. Sicher­lich, nicht lange, wir den­ken an das Copyright…

Copy­right Cri­mi­nals exami­nes the crea­tive and com­mer­cial value of musi­cal sam­pling, inclu­ding the rela­ted deba­tes over artistic expres­sion, copy­right law, and (of course) money.

This docu­men­tary tra­ces the rise of hip-hop from the urban streets of New York to its cur­rent sta­tus as a multibillion-dollar indus­try. For more than thirty years, inno­va­tive hip-hop per­for­mers and pro­du­cers have been re-using por­ti­ons of pre­viously recor­ded music in new, other­wise ori­gi­nal com­po­si­ti­ons. When lawy­ers and record com­pa­nies got invol­ved, what was once refer­red to as a “bor­ro­wed melody” became a “copy­right infringement.”The film show­ca­ses many of hip-hop music’s foun­ding figu­res like Public Enemy, De La Soul, and Digi­tal Underground—while also fea­turing emer­ging hip-hop artists from record labels Defi­ni­tive Jux, Rhy­me­s­ay­ers, Ninja Tune, and more.

It also pro­vi­des an in-depth look at artists who have been sam­pled, such as Clyde Stub­ble­field (James Brown’s drum­mer and the world’s most sam­pled musi­cian), as well as com­men­tary by ano­ther highly sam­pled musi­cian, funk legend George Clinton.As artists find ever more inven­tive ways to insert old influ­en­ces into new mate­rial, this docu­men­tary asks a cri­ti­cal ques­tion, on behalf of an ent­ire crea­tive com­mu­nity: Can you own a sound?