Who controls how one’s identity is used by others? This legal question, centuries old, demands greater scrutiny in the Internet age. Jennifer Rothman uses the right of publicity—a little-known law, often wielded by celebrities—to answer that question, not just for the famous but for everyone. In challenging the conventional story of the right of publicity’s emergence, development, and justifications, Rothman shows how it transformed people into intellectual property, leading to a bizarre world in which you can lose ownership of your own identity. This shift and the right’s subsequent expansion undermine individual liberty and privacy, restrict free speech, and suppress artistic works. The Right of Publicity traces the right’s origins back to the emergence of the right of privacy in the late 1800s. The central impetus for the adoption of privacy laws was to protect people from “wrongful publicity.” This privacy-based protection was not limited to anonymous private citizens but applied to famous actors, athletes, and politicians. Beginning in the 1950s, the right transformed into a fully transferable intellectual property right, generating a host of legal disputes, from control of dead celebrities like Prince, to the use of student athletes’ images by the NCAA, to lawsuits by users of Facebook and victims of revenge porn. The right of publicity has lost its way. Rothman proposes returning the right to its origins and in the process reclaiming privacy for a public world.

This text provides authors and publishers with information on how to conceptualize, develop and implement a winning, multi-dimensional book campaign. It discusses differences between trade and consumers and how to construct a campaign and also includes exercises.

This book, newly discovered from the archives of his biographer, is Ivy Lee¿s only known full-length manuscript. Written in the mid-1920s, a time when the public relations field was first coming into its own, it is a guide not as much for the practitioner, but wisely, for a Jazz-Age public facing its first-ever bout of ¿information overload.¿ Lee advises the reader how to identify and cope with the seemingly relentless flow of messages¿emanating from radio, newsreels and other new media¿in order to separate out truth from reality, news from propaganda. He coaches the reader how to be a smart consumer of media, and shield himself from the newly emerging influence of motivational research and consumer crowd behavior. Although the book was written just as ¿talkies¿ were consuming the screen, the guidance it offers is just as valuable, perhaps even moreso, as YouTube and Twitter consume our screens, 90 years later.Readers of Mr. Lee¿s Publicity Book: A Citizen¿s Guide to Public Relations will also enjoy fascinating observations from some of today¿s pre-eminent scholars and historians of media and public relations. Their comments point to fascinating parallels between Lee¿s day and today, and also explore the progress, or lack thereof, in the public¿s comprehension of publicity¿s impact today.

A leading publicist for the publishing industry shares her best advice to writers on how to maximize exposure for the work, showing writer's how to become skillful at marketing and self-promotion, while also learning how to network in the right places.

“Out-of-the-box PR campaigns” for authors to get their books to legions of readers from “one of the best publicists in the business” (James Rollins, #1 New York Times bestselling author). From the rise of ebooks to the impact of online retail sales to the wide acceptance of self-publishing as a natural path, countless authors are writing books and then wondering what to do with them. Self-published authors need to know how to bring their book to market themselves and reach audiences without a publisher’s marketing or publicity department behind them. Even published authors want to supplement the work of in-house publicity managers and develop a direct relationship with everyone from the media to potential fans. As the head of her own independent PR firm, Kaye Publicity, Dana Kaye has been a driving force behind numerous bestselling authors across all genres, from thriller authors like Gregg Hurwitz and Jamie Freveletti to children’s authors like Liz Climo and Claudia Gray, and now she brings her insights to you. Kaye walks writers through all of their options, taking the anxiety out of the pitching process and teaching them how to be their own best promoters. Sharp, intuitive, and user-friendly, Dana Kaye’s guide is a must-have for all authors with bestselling aspirations. “There’s a reason I didn’t hire an outside publicist through my first ten books. It’s because I hadn’t yet met Dana. Smart, no-nonsense, creative, and to the point, she’s the best in the business.”—Gregg Hurwitz, New York Times bestselling author of Orphan X

Through a series of close readings of two major figures of the modern movement, Adolf Loos and Le Corbusier, Beatriz Colomina argues that architecture only becomes modern in its engagement with the mass media, and that in so doing it radically displaces the traditional sense of space and subjectivity. Privacy and Publicity boldly questions certain ideological assumptions underlying the received view of modern architecture and reconsiders the methodology of architectural criticism itself. Where conventional criticism portrays modern architecture as a high artistic practice in opposition to mass culture, Colomina sees the emerging systems of communication that have come to define twentieth-century culture—the mass media—as the true site within which modern architecture was produced. She considers architectural discourse as the intersection of a number of systems of representation such as drawings, models, photographs, books, films, and advertisements. This does not mean abandoning the architectural object, the building, but rather looking at it in a different way. The building is understood here in the same way as all the media that frame it, as a mechanism of representation in its own right. With modernity, the site of architectural production literally moved from the street into photographs, films, publications, and exhibitions—a displacement that presupposes a new sense of space, one defined by images rather than walls. This age of publicity corresponds to a transformation in the status of the private, Colomina argues; modernity is actually the publicity of the private. Modern architecture renegotiates the traditional relationship between public and private in a way that profoundly alters the experience of space. In a fascinating intellectual journey, Colomina tracks this shift through the modern incarnations of the archive, the city, fashion, war, sexuality, advertising, the window, and the museum, finally concentrating on the domestic interior that constructs the modern subject it appears merely to house.

From the original idea through the pain of raising money and the rigors of independent film production to the film's instant success and the joy it brought when it was sold to Columbia Pictures and topped the box office as the biggest grossing film in release, 'The Making of The Lords of Flatbush' tells a sometimes hilarious and often dramatic, but never uneventful story.For dollar invested to dollar returned, 'The Lords of Flatbush' was one of the biggest money making films of all time. The book reveals how everyone involved went on to become legends in their field: From Sylvester Stallone who went on to become Rocky to Henry Winkler who became the Fonz, to Richard Gere who was the original lead to Bette Midler whose manager pulled her out at the last minute. This film started a cultural revolution with the TV shows that it inspired. Happy Days, Laverne & Shirley and Welcome Back Kotter, all found their inspiration in this first truly independent motion picture.