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Fire 1996 Full Movie Download

the next issue that determines whether a transmission will constitute a reproduction is whether the transmission is retained for later use. if a transmission is deemed to be a reproduction, then a transmission will be held to be a reproduction regardless of whether it is retransmitted later or not.58 the concept of a public performance is not what the copyright law prohibits. rather, the prohibition is that the copyright law is not violated if transmissions are considered to be not public performances. the 1996 act replaces the phrase “to perform the work publicly” with “to transmit or otherwise communicate a performance or display of the work.” however, in ruling that the transmission of music must be considered a public performance, courts have maintained that the prohibition against public performances does not encompass performance during transmission but merely prohibits transmission while it is taking place. however, this may change. for example, courts may determine that a retransmission is a transmission of a copyrighted work, and thus a public performance for which royalties must be collected. other courts have held that even without a retransmission, live transmissions of music constitute public performances. however, even if a live transmission is held to constitute a public performance, the fact that it is transmitted may not give rise to a new work that can be treated as a new public performance in its own right. instead, the work may remain in its original form and the work could be regarded as a reproduction. this is because reproduction may be regarded as only producing a copy of an existing work or a copy of a transmission. however, reproduction can also be regarded as completing the performance of the original work or transmission.59 if the transmission does not produce a new work, then it may be regarded as a reproduction.

the actions against peers are mainly due to the fact that although licensed copies of albums or music are sold in stores, illegal downloads, often at a higher price, are the only source for those who cannot afford such licensed copies. this has resulted in more and more people illegally downloading music. those who do not understand the difference between an illegal download and a licensed copy are deceived into believing that they are purchasing a copy of an album, when what they are actually purchasing is an illegal copy. those who are not only illegally downloading but also generating a profit by selling unauthorized copies are even less likely to understand that they are actually stealing. many have in fact suggested that the public’s perception of how copyright law works is that the public owns copyright, and that if we can get enough people to steal to make a profit, then we can legitimately sell a copy. this idea runs counter to the meaning of copyright, and it is sad that those who infringe copyright and create a profit from that infringement are taught that this is the way copyright law should work. when a music company or a record label tries to convince the public that they have the right to sell unauthorized copies of copyrighted works, they want the public to believe that what they are really selling is a copy of an album; what they are really selling is the right to download an album, for free, for as long as they want. if the public understood that what they were really buying is the privilege of using someone elses property, they would think twice before they steal. the same is true for the online music market, i.e. mp3 files and other digital audio files.
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