教學大綱 Syllabus


Course Name: Media and Entertainment Law in the Digital Age


Type of Credit: Elective






Number of Students

課程資料Course Details

課程簡介Course Description


As technology keeps developing and information is disseminated extremely frequently, large-scale creativity in entertianment market depends on specialized utilities for media management and licensing. This course is tailor-made for training students to learn how rapid technology progress causes challenges and implications arising out of changes in the communication industry and corresponding government responses. Therefore, instructor introduces the legal and regulation issues of communication industries in digital age, especially pays attention on film, TV, music , telecommunication and advertising industry. 


* This course is instructed in English.

核心能力分析圖 Core Competence Analysis Chart


    課程目標與學習成效Course Objectives & Learning Outcomes


    Students are expected to have read the assigned materials and come prepared to discuss. Every effort will be made to keep readings to a manageable level and students are encouraged to discuss with instructors if the reading load is too heavy. This course will feature a number of guest lecturers. In order to introduce students to a range of industry practitioners and allow students to ask questions about Law, practical experience, career advice, etc. Besides, these lectures will comment and provide suggestions to students who present at that week. These course designs are tried to connect students with people practicing entertainment industry and copyright law.

    By topic reading, research and deep interaction with professional speakers, students can be expected to cultivate and own the following abilities:

    • Students will understand how new media and convergence are shaped by social, political/legal, economic/market and cultural driving forces;
    • Students will become aware of latest media technological trends and get familiar with innovations that have potential impacts on media industries and organizations;

    Students will cogitate different challenges and legal difficulties about mass communications in digital age, and try to come up with effective policy.

    每周課程進度與作業要求 Course Schedule & Requirements

    In each class, students are expected to read the weekly articles and participate in discussions related to each week’s topic. In addtion, this course will have a whole-day field trip. If you have to miss a class or meet any problem, please send email to me. There will be no grade deduction for reasonably excused absences. However, to attend each class and the attendence of the filed trip should be compulsory.  

    Students will be required to prepare an analytical paper regarding digital technology issues in assigned entertainment and media industry. The potential paper topics will be highly encouraged to work with instructors to develop, and instructors will make them available for discussion and preparation. The detail group list, subject assignments and the form requirements of paper reports will be announced after our first class.




    Topic/Event & Readings



    Building Theories and Defining Concepts

    * Searching for research resources from NCCU library's Database 

    Required Reading:

    • Frank Pasquale, Platform Neutrality: Enhancing Freedom of Expression in Spheres of Private Power, 17 Theoretical Inquiries in Law 487 (2016)
    • Peter Menell, This American Copyright Life: Reflections on Re-equilibrating Copyright for the Internet Age, 61 Journal of The Copyright Society 235 (2014)

    Recommended Reading:

    • Danielle Citron and Quinta Jurecic, Platform Justice: Content Moderation at an Inflection Point, Hoover Institution Aegis Paper Series (2018)


    Technological Revolution in Entertainment Industry

    An Overview and the Changing Scene 

    Required Reading:

    • Christopher J. Buccafusco and Christopher Jon Sprigman, The Creativity Effect, University of Chicago Law Review, Vol. 78. (2011)
    • Christopher Jon Sprigman, Copyright and Creative Incentives: What We Know (and Don't), Houston Law Review, Vol. 55, No. 2 (2018)

    Recommended Reading:

    • Justin Hughes and Robert Merges, Copyright and Distributive Justice, Notre Dame Law Review, Vol. 92 (2016)



     Free Culture & Sharing Economy 

    Required Reading:

    • Lawrence Lessig, The Vision for the Creative Commons: What are We and Where are We Headed? Free Culture, in Open Content Licensing: Cultivating the Creative Commons, Brian Fitzgerald, Editor (Sydney University Press, 2007)
    • Re-crafting a Public Domain, 18 Yale Journal of Law & the Humanities 56 (Special Issue 2006)

    Recommended Reading:

    • Lawrence Lessig, Free Culture: The Nature and Future of Creativity, Penguin Books, p.116-207 (2005)
    • Pam Samuelson, Possible Futures of Fair Use, 90 Wash. L. Rev. 815 (2015) 



    Sharing Economy 

    Required Reading:

    • Peter Menell, Adapting Copyright for the Mashup Generation, University of Pennsylvania Law Review, Vol. 164, Issue 2, (2016)
    • Dina LaPolt, A Response to Professor Menell: A Remix Compulsory License Is Not Justified, 38 COLUM.J.L. & ARTS 365 (2015) 

    Recommended Reading:

    • Lawrence Lessig, Free(ing) Culture for Remix, 4 Utah Law Review 961 (2004)
    • Lawrence Lessig, Remix- Making Art and Commerce Thrive in the Hybrid Economy, Penguin Books, p.253-298 (2008)



    Music concerts, Animation and Film

    Recommended Reading:

    • Kazuhiro Ando, Contractual Relationships among Artists, Record Labels, and Artist Management Companies in Japan, Oxford Handbook of Music Law and Policy (2021)



    Hollywood Deals and Market Power  

    Required Reading:

    • Alexandra Gil, Breaking The Studios: Antitrust and The Motion Picture Industry, NYU Journal Of Law And Liberty, Volume 83 Number 3 (2008)

    Recommended Reading:

    • Derek M. Diemer, Fighting Giants: Using Standard Form Contracts to Protect the Industry Outsider Information & Communications Technology Law, 2019
    • Catherine Fisk, Hollywood Writers and the Gig Economy, UC Irvine Legal Studies Research Paper Series No. 2016-55



    Streaming Media and Money Ball Push Us to Reconsider New Policy

    Required Reading:

    • Kal Raustiala and Chris Sprigman, The Second Digital Disruption: Streaming & the Dawn of Data-Driven Creativity, N.Y.U. L. Rev. (2019)

    Recommended Reading:

    • Michael Smith , Rahul Telang, Streaming, Sharing, Stealing: Big Data and the Future of Entertainment, The MIT Press, p.63-186 (2016)



    The Distribution Right, First-Sale, and Import-Export 

    Required Reading:

    • Peter DiCola, Money from Music: Survey Evidence on Musicians’ Revenue and Lessons About Copyright Incentives, 2013.
    • Robert Suggs, A Functional Approach to Copyright Policy, 83 U. Cin. L. Rev. 1293 (2015)

    Recommended Reading:

    • James Boyle and Jennifer Jenkins, Theft: A History of Music Paperback,  Create Space Independent Publishing Platform (2017)
    • Michael Carrier, Copyright and Innovation: The Untold Story, Wisconsin Law Review 891 (2012)



    Brands and Advertisements

    Required Reading:

    • Kal Raustiala and Christopher Jon Sprigman, The Piracy Paradox: Innovation and Intellectual Property in Fashion Design. Virginia Law Review, Vol. 92 (2006)
    • Sonia Katyal and Leah Chan Grinvald, Platform Law and the Brand Enterprise, Berkeley Technology Law Journal, Vol. 32 (2018)

    Recommended Reading:

    • Xiyin Tang, The Artist as Brand: Toward a Trademark Conception of Moral Rights, 122 Yale Law Journal 218 (2012)
    • Sonia Katyal, Brands Behaving Badly, Trademark Reporter (2019)



    * An  one-page abstract / 2-minutes Introduction in the Class 

    Media Regulation and Innovative Technology 

    Required Reading:

    • Francis Fukuyama, Andrew Grotto, Comparative Media Regulation in the United States and Europe, Social Media and Democracy, Cambridge University Press (2020)
    • Danielle Citron and Helen Norton, Intermediaries and Hate Speech: Fostering Digital Citizenship for the Information Age, 91 B.U. L. Rev. 1435 (2011)

    Recommended Reading:

    • ​​Tim Hwang, Dealing with Disinformation: Evaluating the Case for CDA 230 Amendment, Cambridge University Press (2020)
    • Eric Goldman, Five Things to Know About Section 230, Centre for International Governance Innovation (CIGI), Santa Clara Univ. Legal Studies Research Paper (2021)



    Fake News/Disinformation and Governmental Regulation

    Required Reading:

    • ​​Tim Hwang, Dealing with Disinformation: Evaluating the Case for CDA 230 Amendment, Cambridge University Press (2020)
    • Danielle Citron and Mary Anne Franks, The Internet As a Speech Conversion Machine and Other Myths Confounding Section 230 Reform Efforts, U. Chi. Legal Forum 45 (2020)

    Recommended Reading:

    • Eric Goldman, Why Section 230 Is Better Than the First Amendment, Notre Dame Law Review, Vol. 95, No. 33 (2019)
    • Jeff Kosseff, A User's Guide to Section 230, and a Legislator's Guide to Amending It (or Not), Berkeley Technology Law Journal, Vol. 37, No. 2 (2022)



    Museums & Art Exhibitions

    Required Reading:

    • Xiyin Tang, Copyright and Cultural Capital, 66 Rutgers Law Review 425 (2014)
    • Amy Adler, Fair Use and the Future of Art, 91 N.Y.U. L. Rev. 559 (2016)

    Recommended Reading:

    • Brain Frye, New Art for the People: Art Funds & Financial Technology, 93 Chi.-Kent L. Rev. 113 (2018)
    • Amy Adler, Why Art Does Not Need Copyright, 86 Geo. Wash. L. Rev. 313 (2018)


    Deregulation and Open Licensing

    Required Reading:

    • Brain Frye, Pwnership in the NFT Art Market (2022)
    • Edward Lee , NFTs as Decentralized Intellectual Property, University of Illinois Law Review (2023)

    Recommended Reading:

    • Robert P Merges, Compulsory Licensing vs. the Three "Golden Oldies" Property Rights, Contracts, and Markets, Cato Policy Analysis, No.508 (2004)



    Asian Perspective and International Regime

    Required Reading:

    • David Herlihy, Yu Zhang, Music Industry and Copyright Protection in the United States and China, Global Media and China, Vol 1, Issue 4 (2016)
    • Jiarui Liu, The Tough Reality of Copyright Piracy: A Case Study of the Music Industry in China, Cardozo Arts & Entertainment Law Journal, Vol. 27 (2010)

    Recommended Reading:

    • John Fang-jun Li, The development of the digital music industry in China during the first decade of the 21st century with particular regard to industrial convergence, International Journal of Music Business Research, Vol. 2, Issue 1 (2013)


    Cultural Impacts and Legal Reforms 

    Required Reading:

    • Eric Priest, Copyright Extremophiles: Do Creative Industries Thrive or Just Survive in China's High Piracy Environment? Harvard Journal of Law and Technology, Vol. 27, No. 2 (2014)
    • Eric Priest, Copyright and Free Expression in China's Film Industry, Forham IP, Media & Entertainment Law Journal Volume 26 (2015)

    Recommended Reading:

    • Jiarui Liu, Copyright Reform and Copyright Market, 31 Berkeley Tech. L.J. 1461 (2017)
    • William P. Alford, To Steal a Book Is an Elegant Offense: Intellectual Property Law in Chinese Civilization, Stanford Univ. Press (1995)
    • Steve Tsang, Taiwan's Impact on China: Why Soft Power Matters More Than Economic or Political Inputs, Palgrave Macmillan (2017)


    Science Technology and Entertainment Industry

    Technology Transformation in the Digital Age

    Required Reading:

    • Sean O'Connor, Patented Electric Guitar Pickups and the Creation of Modern Music Genres, George Mason Law Review, Vol. 23, No. 4 (2016)

    Recommended Reading:

    • Thierry Rayna, École Polytechnique, Engineering vs. Craftsmanship: Innovation in the Electric Guitar Industry (1945-1984), DIME Working Paper on Intellectual Property Rights No. 68 (2009)
    • Robert Brauneis, Musical Work Copyright for the Era of Digital Sound Technology: Looking Beyond Composition and Performance, Tulane Journal of Technology & Intellectual Property, Vol. 17, No. 1 (2014)



    Guest Speaker

    Recommended Reading:

    • Sean O’Connor, The Intersection of IP and Artificial Intelligence (AI) les Nouvelles, Journal of the Licensing Executives Society, Volume LVI No. 3 (2021)
    • Sean O’Connor, AI Replication of Musical Styles Points the Way to An Exclusive Rights Regime, Research Handbook on Intellectual Property and Artificial Intelligence, Ryan Abbott ed., Edward Elgar (2022)

    W 16


    Guest Speaker

    Recommended Reading:

    • Tim Wu, Network Neutrality, Broadband Discrimination. Journal of Telecommunications and High Technology Law, Vol. 2 (2003)
    • Tim Wu, Is the First Amendment Obsolete? , Columbia Public Law Research Paper No. 14 (2017)

    Off-Campus Learning & Field Trip

    • Songshan Cultural and Creative Park & Taipei Pop Music Center (TBD)

    W 17

    Term Paper Presentation

    W 18

    Term Paper Presentation


    授課方式Teaching Approach


    講述 Lecture


    討論 Discussion


    小組活動 Group activity


    數位學習 E-learning


    其他: Others:

    評量工具與策略、評分標準成效Evaluation Criteria


        • Reading Presentation/Commenting Group, Class participation, Attendance 35%
        • Term Paper Presentation 30%
        • Term paper (Individual)  35%
        • Total 100%

    指定/參考書目Textbook & References

    • Recommended Materials: 
    • Sherri L. Burr, Entertainment Law in a Nutshell (West Academic Publishing, 2017) 
    • Aram Sinnreich, The Essentail Guide to Intellectual Property (Yale University, 2019)  
    • Jeanne C. Fromer, Christopher Jon Sprigman, Copyright Law: Cases and Materials (v1.0) (free textbook 1st ed., 2019)

    已申請之圖書館指定參考書目 圖書館指定參考書查詢 |相關處理要點

    書名 Book Title 作者 Author 出版年 Publish Year 出版者 Publisher ISBN 館藏來源* 備註 Note

    維護智慧財產權,務必使用正版書籍。 Respect Copyright.

    課程相關連結Course Related Links


    課程附件Course Attachments

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