The pirate imaginary and the potential of the authorial pirate.

Meese, J

The pirate imaginary and the potential of the authorial pirate.

Meese, J

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Publisher:: Litwin Books Llc
Publication Type:: Chapter
Citation:: Piracy: Leakages from Modernity, 2014, pp. 19 - 38
Issue Date:: 2014-07-01

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Field	Value	Language
dc.contributor.author	Meese, J https://orcid.org/0000-0003-1910-6166	en_US
dc.contributor.editor	Arvantakis, J	en_US
dc.contributor.editor	Fredriksson, M	en_US
dc.date.issued	2014-07-01	en_US
dc.identifier.citation	Piracy: Leakages from Modernity, 2014, pp. 19 - 38	en_US
dc.identifier.isbn	1936117592	en_US
dc.identifier.isbn	9781936117598	en_US
dc.identifier.uri	http://hdl.handle.net/10453/119722
dc.description.abstract	The figure of the pirate and acts of piracy themselves are most frequently defined by their opposition and exception to the legal framework of copyright law. However, the term ‘pirate’, used to describe those who have been seen breaching such a legal framework, does not just evoke images of rows of computer towers in a back room, adjacent to a pile of blank discs ready for commercial reproduction and distribution, or the ubiquitous footage of the youthful and impressionable ‘movie downloader’ found on the beginning of DVDs (see Loughan 2008). It also carries a deeper cultural resonance, reminding us of bands of renegades, hijacking European ships returning from colonial outposts, or in the contemporary era, of the two most evocative pirate imaginaries which exist concurrently: The machine-gun wielding Somalian pirate – a martyr-rebel and a refugee of globalization – or more humorously, Johnny Depp’s, Keith Richards inspired, Captain Jack Sparrow, the debonair star of the successful Walt Disney franchise Pirates of the Caribbean (Ali and Murad 2009).	en_US
dc.publisher	Litwin Books Llc	en_US
dc.relation.ispartof	Piracy: Leakages from Modernity	en_US
dc.title	The pirate imaginary and the potential of the authorial pirate.	en_US
dc.type	Chapter
utslib.location	USA	en_US
utslib.for	2001 Communication and Media Studies	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences/IKM and Digital Studies Program
utslib.copyright.status	closed_access
pubs.consider-herdc	false	en_US
pubs.place-of-publication	USA	en_US
pubs.publication-status	Published	en_US

Abstract:

The figure of the pirate and acts of piracy themselves are most frequently defined by their opposition and exception to the legal framework of copyright law. However, the term ‘pirate’, used to describe those who have been seen breaching such a legal framework, does not just evoke images of rows of computer towers in a back room, adjacent to a pile of blank discs ready for commercial reproduction and distribution, or the ubiquitous footage of the youthful and impressionable ‘movie downloader’ found on the beginning of DVDs (see Loughan 2008). It also carries a deeper cultural resonance, reminding us of bands of renegades, hijacking European ships returning from colonial outposts, or in the contemporary era, of the two most evocative pirate imaginaries which exist concurrently: The machine-gun wielding Somalian pirate – a martyr-rebel and a refugee of globalization – or more humorously, Johnny Depp’s, Keith Richards inspired, Captain Jack Sparrow, the debonair star of the successful Walt Disney franchise Pirates of the Caribbean (Ali and Murad 2009).

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/119722