Intellectual Property and Media Rights

Introduction

Media industries depend on the lawful creation, acquisition, transformation, distribution and monetisation of expressive works. A television programme may combine a script, musical compositions, sound recordings, performances, photographs, trademarks, locations, graphic designs, formats, software and user-generated content. Each element may be protected by a different legal right and may require separate permission. Consequently, intellectual property (IP) management is not merely a legal function. It is a central part of media production, commissioning, distribution, marketing, platform operations and risk management.

This chapter examines the principal rights that affect media organisations: copyright, related rights, trademarks, moral rights, licensing, assignment, fair use or fair dealing, the public domain, rights clearance and digital distribution. Because IP law differs across jurisdictions, the chapter explains common principles rather than presenting one national statute as universally applicable. Media managers must consult the law of each relevant territory, particularly where content is distributed internationally.

Learning Objectives

By the end of this chapter, students should be able to:

1. Explain the purpose and scope of copyright, related rights, trademarks and moral rights.
2. Distinguish ownership, licensing and assignment.
3. Analyse fair use, fair dealing and public-domain questions.
4. Identify rights commonly embedded in text, music, images, film, formats and user-generated content.
5. Apply a systematic rights-clearance process to media projects.
6. Evaluate the implications of digital distribution, platform terms, artificial intelligence and technological change.
7. Recommend ethical and commercially practical responses to IP disputes.

1. Intellectual Property in the Media Value Chain

Intellectual property consists of legally recognised interests in creations of the mind and commercial identifiers. In media, IP rights give creators and rightsholders control over defined uses of expression, signs, performances and inventions. These rights are generally limited in duration, territory and scope. They do not give unlimited ownership of ideas, facts or culture.

The media value chain can be understood as five connected stages:

A single media product may therefore contain a bundle of rights. For example, a documentary can involve copyright in the script, footage, photographs, music and graphics; performers’ rights; trademark rights in visible brands; privacy and publicity interests; and contractual restrictions imposed by archives or platforms.

2. Copyright: The Central Media Right

2.1 Meaning and protected subject matter

Copyright protects original expression fixed in a legally recognised form. It commonly applies to literary, dramatic, musical and artistic works, films or other audiovisual works, sound recordings, broadcasts and computer programs, subject to the law of the relevant jurisdiction.

The word original does not usually mean completely unprecedented. It generally requires that the work originate from the author and reflect a sufficient level of independent intellectual or creative effort. Facts, ideas, methods, systems and procedures are normally not protected as such, although the particular way in which they are expressed may be protected.

Examples include:

• a journalist’s article, but not the underlying historical facts;
• a photograph, but not necessarily the depicted building or person;
• a screenplay, but not a general idea such as “a detective solves crimes in a coastal town”;
• a song’s musical composition and lyrics;
• a sound recording of a performance;
• a programme’s visual design, subject to applicable legal standards.

Copyright protection usually arises automatically when qualifying expression is created and fixed. Registration may be available and can assist with evidence, licensing or enforcement, but registration is not universally required for protection.

2.2 Copyright as a bundle of rights

Copyright is not one indivisible power. It is a collection of economic and sometimes non-economic rights. Economic rights commonly include the rights to reproduce, distribute, communicate or make available to the public, perform, display, broadcast, adapt, translate or synchronise a work. The precise list differs by jurisdiction.

A media manager should ask two separate questions:

1. What act is the organisation planning to perform?
2. Which legal right controls that act?

Uploading a film to a streaming service, for example, may involve reproduction, communication to the public, making available, adaptation, performance and rights in embedded music. A licence for theatrical exhibition may not authorise online streaming.

2.3 Ownership and authorship

The first owner is often the author or creator, but important exceptions exist. Employment rules, commissioning contracts, collective agreements, work-made-for-hire doctrines and special statutory provisions may alter ownership. A production company should never assume that paying a freelancer automatically transfers copyright.

Ownership should be documented for each contributor. A rights schedule may identify the writer, director, composer, performer, photographer, illustrator, editor, production company and commissioning client. It should also record whether each person is an employee, independent contractor, supplier or rights intermediary.

2.4 Duration and territory

Copyright duration varies by jurisdiction and category of work. In many systems, literary and artistic works are protected for the author’s life plus a statutory number of years, but sound recordings, films, broadcasts and anonymous works may follow different rules. Duration can also be affected by publication history, co-authorship and transitional provisions.

Copyright is territorial. A work may be lawful to use in one country and restricted in another. International treaties harmonise some principles but do not create a single global copyright law. Digital distribution makes territorial analysis especially important because a single upload may be accessible in many markets.

3. Related Rights and Media Production

Copyright does not exhaust media rights. Related or neighbouring rights may protect performers, producers of sound recordings and broadcasting organisations. A singer may have rights in the performance; a record producer may control the sound recording; and a composer may control the musical composition. These are separate interests.

This distinction is particularly important in music. A producer using a commercial song in a video may need:

• a licence for the musical composition from the composer, publisher or collecting society;
• a licence for the sound recording from the record label or recording owner;
• performer-related permissions where applicable; and
• permissions for public performance, communication or synchronisation depending on the use.

The composition and the recording are often called two copyrights, although terminology and legal treatment vary. Clearing only one may leave the production exposed.

4. Moral Rights

Moral rights protect the personal and reputational relationship between creators and their works. Common forms include the right of attribution and the right to object to derogatory treatment or prejudicial distortion. Some jurisdictions recognise additional rights, while others limit, waive or contractually modify them.

Moral rights matter in editing, translation, adaptation and promotional use. A director may object to a materially altered version being presented as the original work. An illustrator may require credit. A composer may object to a song being used in a context that damages reputation.

Moral rights should be addressed separately from economic rights. A contract may transfer or license economic rights without eliminating moral-rights obligations. Where waiver is legally permitted, it should be drafted clearly and specifically. Ethical practice goes beyond minimum legal compliance: accurate credit, consultation about substantial alterations and respectful contextual use support professional relationships and public trust.

5. Trademarks and Other Identity Rights

A trademark is a sign capable of distinguishing the goods or services of one undertaking from those of others. It may consist of a word, logo, symbol, colour combination, shape, sound or other legally recognised sign. In media, trademarks appear in programme titles, channel brands, logos, merchandise, sponsorships, set design, advertising and social-media campaigns.

Trademark law primarily protects source identification and prevents confusion, although famous marks may receive broader protection. Copyright and trademark questions are different. A logo may be both an artistic work and a trademark. A film may show a branded product without infringing copyright in the logo, but the use could still raise trademark, endorsement, dilution or unfair-competition concerns.

Media professionals should distinguish incidental background appearance from deliberate commercial association. A brand visible in a street scene is not automatically unlawful, but editing, narration, placement or promotional context may imply sponsorship. Clearance policies should consider whether the mark is prominent, criticised, altered, used commercially or likely to confuse audiences.

Related concerns include image rights, privacy, publicity or personality rights. A recognisable person may have interests in the commercial use of their name, image, voice or likeness even where the photograph itself is owned by the photographer.

6. Licensing and Assignment

6.1 Licence

A licence is permission to exercise specified rights while ownership remains with the licensor. Licences may be exclusive, sole or non-exclusive.

• A non-exclusive licence allows the licensor to grant similar permissions to others.
• An exclusive licence gives the licensee exclusive use within the defined scope, often preventing the owner from licensing others for that use.
• A sole licence may reserve use to the licensor and one licensee, depending on the contract and legal system.

A licence should specify the work, rights, media, territory, term, exclusivity, language, audience, promotional uses, sublicensing, compensation, reporting, technical delivery, warranties, indemnities, termination and dispute resolution.

6.2 Assignment

An assignment transfers ownership of specified rights from assignor to assignee. It is broader than a licence but not necessarily unlimited. Many jurisdictions require assignments to be written and may require particular formalities. An assignment should identify the rights transferred rather than using vague language such as “all rights” without clarification.

Assignments can affect future exploitation, sequel rights, remake rights, merchandising and archival use. Creators may accept an assignment for a fee but later discover that the contract covers media and territories not contemplated at signing. Clear drafting protects both commercial certainty and creator interests.

6.3 Licence or assignment: managerial choice

A media organisation should acquire no more rights than it needs, but enough rights to support the business plan. A short-term digital campaign may require a limited licence; a global franchise may justify broader rights. Excessive acquisition can increase cost and reduce creator bargaining power, while insufficient acquisition creates takedown, renegotiation and litigation risk.

A useful contractual principle is specificity. The agreement should match actual exploitation. “All media now known or later developed” may be commercially convenient, but its enforceability and fairness vary by jurisdiction, particularly where statutory protections apply to authors and performers.

7. Fair Use, Fair Dealing and Other Exceptions

Copyright exceptions balance exclusive rights with education, criticism, news reporting, research, parody, quotation, accessibility and public interest. Their structure differs significantly between legal systems.

Fair use, associated particularly with United States law, is generally an open-ended defence assessed through multiple factors. Fair dealing, used in several other jurisdictions, is often tied to specified purposes such as criticism, review, research, education, quotation or reporting current events, with fairness assessed in context. Neither is a universal permission to copy.

Common considerations include:

1. the purpose and character of the use, including commerciality and transformation;
2. the nature of the original work;
3. the amount and substantiality used; and
4. the effect on the potential market for the original.

These factors are not a mechanical formula. A small extract may be substantial if it is the work’s central creative element. A commercial use may still be defensible in some systems, while a non-commercial use may still infringe. Attribution alone does not make an unauthorised use fair.

A responsible media analysis asks:

• Is the purpose within a recognised exception?
• Is the amount necessary for that purpose?
• Does the use add commentary, criticism, context or new meaning?
• Does it substitute for the original or harm a legitimate market?
• Is the use proportionate and documented?
• Does the jurisdiction recognise the proposed defence?

When uncertainty is material, seek permission or legal advice rather than treating fair use or fair dealing as a production shortcut.

8. Public Domain and Open Licensing

A work is in the public domain when copyright protection has expired, never applied, or been relinquished under applicable law. Public-domain status must be verified by jurisdiction, work type, publication date, author status and legal changes. The fact that an old work is accessible online does not prove that it is public domain.

Public-domain status does not eliminate every possible right. A new translation, restoration, arrangement, photograph or recording may be separately protected. Trademarks, privacy, cultural heritage rules and contractual restrictions may also remain relevant.

Open licences, including Creative Commons licences, grant permissions subject to stated conditions. A licence may require attribution, prohibit commercial use, require sharing adaptations under the same terms or prohibit modification. “Free to view” is not equivalent to “free to reuse.” Organisations should retain the licence version, source URL, access date and attribution wording.

9. Rights Clearance for Media Projects

Rights clearance is the systematic process of identifying, verifying, obtaining and recording permissions before exploitation. It should begin at development, not after production has finished.

A practical clearance workflow

Step 1: Create an asset inventory. List every script, quotation, photograph, clip, song, recording, logo, font, illustration, archive item, location, performance and user contribution.

Step 2: Identify rightsholders. Determine whether rights belong to an individual, employer, production company, publisher, label, archive, collecting society or platform.

Step 3: Map intended uses. Record distribution channels, territories, languages, term, audience, promotional uses, edits, adaptations and monetisation.

Step 4: Assess legal status. Classify each asset as owned, licensed, public domain, covered by a possible exception or requiring further investigation.

Step 5: Obtain written permissions. Ensure the agreement covers the actual use rather than an assumed use.

Step 6: Verify releases and consents. Consider performers, contributors, locations, minors, private individuals and people whose identity is commercially exploited.

Step 7: Record evidence. Store contracts, invoices, emails, licences, attribution requirements, expiry dates and territory restrictions in a central rights-management system.

Step 8: Conduct a final legal and editorial review. Recheck changes made during editing, music substitutions, thumbnails, trailers, subtitles and social-media extracts.

Step 9: Monitor post-release obligations. Track renewals, takedown notices, reporting duties, royalties and changes in ownership.

A rights matrix can make this process auditable:

10. Text, Music, Images, Film, Formats and User-Generated Content

Text

News facts may often be reported, but copying another publication’s expression, structure or distinctive passages can infringe copyright and may raise plagiarism concerns. Headlines, short phrases and titles receive different treatment across jurisdictions. Proper attribution is ethically necessary but does not always replace permission.

Music

Music clearance requires separating composition, recording, performance and platform uses. A production should also consider lyrics, samples, interpolations and commissioned music. “Royalty-free” usually means licensed under defined terms, not free of all conditions or rights.

Images

A photograph may be protected even if downloaded from a search engine or social-media page. Clearance should address the photographer, depicted people, trademarks, artworks, private property and intended commercial context. Stock-image licences must be read for restrictions on merchandise, sensitive subjects, print runs and artificial intelligence training or generation.

Film and audiovisual clips

Using a film excerpt may require rights from the copyright owner, distributor or archive, as well as permissions concerning music and performers. Clip licences often limit duration, territory, platform, promotional use and editing. A review or criticism exception may apply in some circumstances, but the analysis is fact-specific.

Formats

A general programme idea is usually less protected than its detailed expression. However, a format may be supported by copyright in format materials, trade secrets, contracts, confidential information, trademarks and unfair-competition law. Format bibles should be treated as confidential where appropriate, and pitches should be documented.

User-generated content

A user who uploads a video, meme, photograph or comment may retain copyright. Platform terms may grant the platform a broad licence, but those terms do not necessarily authorise every third-party reuse. A media organisation should obtain direct permission, preserve the original post and permission record, verify identity where necessary and avoid assuming that public availability equals consent.

11. Digital Distribution and Platform Governance

Digital media multiplies copying, access points and jurisdictional exposure. Streaming, downloads, cloud storage, social sharing, embedding, clipping and algorithmic recommendation may each trigger different legal and contractual consequences. Platforms commonly use automated content-recognition systems, notice-and-takedown procedures and repeat-infringer policies.

A valid licence may still be operationally insufficient if a platform rejects the content, detects an audio match or imposes territorial blocking. Media managers should therefore maintain chain-of-title documentation and delivery metadata. They should know who can issue takedown notices, who can respond to claims and how quickly evidence can be produced.

Digital rights management can restrict copying or access through technical controls. It may support licensing objectives, but it can also create accessibility, interoperability and preservation concerns. Circumventing technical protection may be unlawful even where the underlying use might otherwise be permitted, subject to statutory exceptions.

12. Artificial Intelligence and Emerging Issues

Generative AI creates several unresolved or evolving questions. Training systems may involve the ingestion of copyrighted works; outputs may resemble existing works; the legal status of machine-generated material may differ from human-created expression; and users may unknowingly upload confidential scripts, unreleased footage or personal data to external systems.

Responsible media governance should include:

• documenting the source and status of training or reference material;
• prohibiting unauthorised uploads of confidential or third-party content;
• checking generated outputs for substantial similarity, defamation, privacy and trademark risks;
• obtaining consent for digital replicas of performers or public figures;
• preserving human editorial accountability; and
• explaining synthetic content where transparency is ethically or legally required.

AI does not remove the need for human rights clearance. It can increase the speed and scale of infringement, making provenance records and review procedures more important.

13. Illustrative Case: The Unlicensed Festival Documentary

Background

A fictional independent production company, Northline Media, produces a documentary about a city music festival. The editor includes thirty seconds of a popular song recorded from the crowd, a photograph found on a public social-media account, a short excerpt from a television news report and a festival logo visible on stage. The film is accepted by a streaming service, but the company has not obtained written permissions.

Problem

Northline believes that the uses are brief, educational and publicly available. The record label sends a takedown notice, the photographer demands payment, and the festival organiser objects to the use of its logo in promotional trailers.

Analysis

The song may involve separate rights in the composition, sound recording and performance. The recording’s brevity does not automatically make it lawful. The photograph may be copyrighted by the photographer, regardless of its social-media availability. The news excerpt might potentially qualify for criticism, reporting or quotation, depending on jurisdiction, purpose, amount and market effect. The festival logo raises trademark and endorsement questions, especially in the trailer where it could imply official sponsorship.

Approach and solution

Northline should first suspend further promotion while reviewing the chain of title. It should identify the song and negotiate a synchronisation and recording licence, or replace the audio with commissioned music. It should contact the photographer and either obtain a licence or substitute a cleared image. It should document the editorial reason, duration and context of the news excerpt and obtain legal advice on any applicable exception. The festival organiser should be approached for a limited logo and location release, with the promotional use expressly addressed.

Outcome

The production replaces the song in the trailer, licenses the photograph for the documentary and uses a shorter, properly attributed news excerpt after legal review. The festival grants a non-exclusive logo licence that prohibits any suggestion of sponsorship. The streaming contract is amended to reflect the cleared territories and term.

Learning points

The case demonstrates that clearance must be asset-specific. Short duration, public availability, educational intent and attribution are not automatic defences. A rights matrix prepared during editing would have identified the risks before delivery. It also shows that editorial and promotional uses may require different permissions.

14. Ethical and Managerial Responsibilities

Law establishes minimum standards, whereas media ethics also considers fairness, respect, accountability and power. Large organisations may have greater bargaining power than individual creators and should avoid exploitative contracts, hidden rights grabs and unreasonable waiver demands. Credit should be accurate and timely. Cultural materials should not be detached from communities or used in ways that cause avoidable harm.

Managers should establish:

• standard commissioning and contributor agreements;
• approval thresholds for high-risk uses;
• a central rights database;
• training for editors, producers and social teams;
• procedures for complaints and takedown requests;
• retention schedules for rights evidence; and
• escalation routes to legal counsel and senior editorial decision-makers.

A risk-based approach is useful. High-risk factors include commercial advertising, global distribution, prominent copying, music, minors, sensitive personal data, political content, identifiable private individuals and uncertain ownership. Low-risk does not mean no-risk; it means proportionate controls may be appropriate.

15. Limitations and Common Misconceptions

Several common assumptions create avoidable liability:

• “It is online, so it is free to use.” Online availability is not permission.
• “I credited the creator, so the use is lawful.” Attribution may be required but does not replace authorisation.
• “I used only a few seconds.” Quantity is relevant but not decisive.
• “The use is educational.” Educational exceptions have legal conditions and may not cover commercial exploitation.
• “The company paid the freelancer.” Payment does not automatically transfer copyright.
• “The platform’s terms protect us.” Platform terms may grant rights to the platform, not to every third-party user.
• “The logo is incidental.” Context and commercial presentation matter.
• “The content is AI-generated.” AI involvement does not eliminate similarity, privacy, contractual or trademark risks.

Best-Practice Checklist

Before release, confirm that the organisation can answer yes to the following questions:

1. Has every significant asset been inventoried?
2. Is ownership or permission documented?
3. Do the rights cover every intended medium, territory, term and promotional use?
4. Have composition and recording rights been separately considered for music?
5. Have moral rights and credit obligations been addressed?
6. Have performers, contributors, locations, minors and identifiable individuals been considered?
7. Have trademarks and implied endorsements been reviewed?
8. Are public-domain and open-licence claims verified?
9. Are user-generated permissions authentic, specific and retained?
10. Is there a plan for takedown notices, renewals and disputes?

Chapter Summary

Intellectual property is a foundation of media management because media products combine many distinct works and rights. Copyright generally protects original expression, while related rights protect performances, recordings and broadcasts. Trademarks protect source-identifying signs, and moral rights protect aspects of the creator’s relationship with a work. Ownership must be distinguished from licensing, and a licence must be matched to the actual media, territory, term and purpose of exploitation.

Fair use and fair dealing are limited, context-dependent exceptions rather than general permissions. Public-domain and open-licence status must be verified. Digital distribution increases territorial, contractual and enforcement complexity. Music, images, audiovisual clips, formats and user-generated content each require tailored analysis. A professional rights-clearance system inventories assets, identifies rightsholders, maps intended uses, obtains written permissions and retains evidence. Ethical media management adds respect for attribution, consent, creator dignity, cultural context and fair bargaining to minimum legal compliance. Artificial intelligence makes provenance, human review and responsible governance increasingly important.

Key Terms

Copyright: Legal protection for qualifying original expression.

Related rights: Rights associated with performances, sound recordings and broadcasts.

Author: The creator or legally recognised originator of a protected work.

Economic rights: Rights controlling commercial acts such as reproduction, distribution and communication.

Moral rights: Personal rights such as attribution and protection against derogatory treatment.

Trademark: A sign that distinguishes the goods or services of one undertaking.

Licence: Permission to use rights without necessarily transferring ownership.

Assignment: Transfer of ownership of specified rights.

Exclusive licence: A licence that restricts competing grants within its defined scope.

Synchronisation: Combining music with visual or audiovisual content.

Fair use: A flexible copyright exception associated especially with United States law.

Fair dealing: A jurisdiction-specific copyright exception tied to recognised purposes.

Public domain: Material not protected by copyright or no longer protected by it.

Open licence: A standardised permission to use material subject to stated conditions.

Rights clearance: The process of identifying, obtaining and recording permissions.

Chain of title: Documentary evidence showing ownership and authorised transfers or licences.

User-generated content: Material created or uploaded by members of the public.

Digital rights management: Technical and contractual measures controlling digital access or use.

Moral attribution: Recognition of the creator’s authorship where required or ethically appropriate.

Takedown notice: A request or demand that allegedly infringing content be removed.

Review Questions

Short Answer Questions

1. What is the difference between copyright in a musical composition and copyright in a sound recording?
2. Define a licence and distinguish it from an assignment.
3. Why does public availability on the internet not establish public-domain status?
4. What are moral rights, and why do they matter in editing?
5. Identify four items that should appear in a rights-clearance matrix.

Long Answer Questions

1. Explain copyright as a bundle of rights and apply the concept to a streaming documentary.
2. Compare fair use and fair dealing, including their limitations and jurisdictional differences.
3. Discuss the relationship between trademarks, copyright and personality or publicity rights in media production.
4. Describe a complete rights-clearance workflow for a television or digital-media project.
5. Evaluate the ethical and managerial responsibilities of a media organisation when contracting with freelance creators.

Analytical / Application Questions

1. A production uses a ten-second excerpt of a commercially released song, a photograph copied from social media and a brand logo in a trailer. Analyse the rights involved and recommend a clearance strategy.
2. A creator grants a platform a non-exclusive licence to host a video but later discovers that the platform is using still images from it in paid advertising. Analyse whether the original licence necessarily covers the advertising use and identify the facts that should be reviewed.
3. A media company uses generative AI to create a celebrity-like presenter for an advertisement without consent. Analyse the copyright, trademark, personality, ethical and governance risks and propose controls.

Multiple Choice Questions with Answers

Question 1

Which statement best describes a copyright licence?

A. It always transfers ownership of the work

B. It permits specified uses while ownership generally remains with the licensor

C. It eliminates all moral rights in every jurisdiction

D. It applies automatically to every use of material found online

Correct Answer: B. It permits specified uses while ownership generally remains with the licensor

Question 2

Why may a producer need two separate music permissions for a song used in a film?

A. Because music can involve rights in both the composition and the sound recording

B. Because every song must be licensed from two broadcasters

C. Because copyright applies only to lyrics and not to recordings

D. Because a licence is required for every individual listener

Correct Answer: A. Because music can involve rights in both the composition and the sound recording

Question 3

Which item is generally not protected by copyright as such?

A. A journalist’s original article

B. A recorded musical performance

C. A historical fact

D. An original photograph

Correct Answer: C. A historical fact

Question 4

What is the primary function of a trademark?

A. To protect the personal reputation of every author

B. To identify and distinguish the source of goods or services

C. To extend copyright duration indefinitely

D. To make all publicly visible products free to film

Correct Answer: B. To identify and distinguish the source of goods or services

Question 5

Which statement about fair use or fair dealing is most accurate?

A. Attribution alone always makes copying lawful

B. Using only a few seconds is always lawful

C. The defence is context-dependent and varies by jurisdiction

D. Commercial media organisations can never rely on an exception

Correct Answer: C. The defence is context-dependent and varies by jurisdiction

Question 6

What is the principal purpose of a rights-clearance matrix?

A. To replace all production contracts

B. To record assets, rightsholders, permissions and restrictions

C. To calculate audience ratings

D. To register every trademark worldwide

Correct Answer: B. To record assets, rightsholders, permissions and restrictions

Question 7

A photograph found on a social-media account should normally be treated as:

A. Automatically public-domain material

B. Material that may remain copyrighted and require permission

C. Material owned by the person viewing it

D. Material that can be reused if no watermark appears

Correct Answer: B. Material that may remain copyrighted and require permission

Question 8

Which statement correctly distinguishes assignment from licensing?

A. Assignment generally transfers specified ownership rights, while licensing grants permission to use them

B. Assignment is always temporary, while licensing is permanent

C. Licensing applies only to trademarks

D. Assignment requires no written evidence in any legal system

Correct Answer: A. Assignment generally transfers specified ownership rights, while licensing grants permission to use them

Question 9

Which issue is especially relevant when a media company digitally recreates a performer’s likeness using AI?

A. Only paper size

B. Consent, personality or publicity rights and contractual permissions

C. Whether copyright has expired in all music ever recorded

D. Whether the audience owns the production equipment

Correct Answer: B. Consent, personality or publicity rights and contractual permissions

Question 10

What does chain of title provide?

A. Evidence of ownership and authorised transfers or permissions

B. A list of audience members

C. A method for compressing video files

D. A guarantee that no dispute can ever occur

Correct Answer: A. Evidence of ownership and authorised transfers or permissions