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Articles 1 - 4 of 4
Full-Text Articles in Law
Reading/Teaching Lawyer Films, James R. Elkins
Reading/Teaching Lawyer Films, James R. Elkins
Law Faculty Scholarship
No abstract provided.
Casablanca: Judgment And Dynamic Enclaves In Law And Cinema, Shulamit Almog, Amnon Reichman
Casablanca: Judgment And Dynamic Enclaves In Law And Cinema, Shulamit Almog, Amnon Reichman
Osgoode Hall Law Journal
By interpreting the narrative and imagery of the film Casablanca, this article seeks to explore the concept of law as enclave. An enclave is a domain-physical, virtual-emotional, conceptual, social or other-defined by certain boundaries and rules of entrance and exit. We argue that Casablanca is about constructing and reconstructing such enclaves. The structure of a pending journey between enclaves organizes the events taking place in Casablanca and constitutes their dynamic nature. Enclaves, we argue, are central to the structure and operation of the law. Recognizing the enclitic nature of law allows us a better grasp of the ethical dimensions of …
Law As Film: Representing Justice In The Age Of Moving Images, Shulamit Almog, Ely Aharonson
Law As Film: Representing Justice In The Age Of Moving Images, Shulamit Almog, Ely Aharonson
Canadian Journal of Law and Technology
Two main theses are presented here. The first is that there is a conceptual resemblance between the ways in which messages are transmitted in the courtroom and the ways in which they are transmitted in the cinema. The second is that the evolution of legal procedure is being influenced by developments taking place in visual culture generally and film specifically. Taken together, these theses lead to the conclusion that the development of a theory of ‘‘law-as-film’’ can provide insights into the contemporary practice of law that might otherwise be overlooked.
Where Does Creativity Come From? And Other Stories Of Copyright, Michael J. Madison
Where Does Creativity Come From? And Other Stories Of Copyright, Michael J. Madison
Articles
This Commentary on Lydia Pallas Loren, Untangling the Web of Music Copyrights, 53 Case W. Res. L. Rev. 673 (2003), observes that debates over a variety of copyright law issues can be - and in fact, often are - structured in narrative terms, rather than in terms of doctrine, policy, or empirical inquiry. I suggest a series of such narratives, each framed by a theme drawn from a feature film. The Commentary suggests that we should recognize more clearly the role of narrative in intellectual property discourse, and that intellectual property narratives should be examined critically.