MUSB 2355 STUDY GUIDE II Litwak CHAPTERS 4-5 

Ch. 4-Clearances

1. T/F anyone with Internet access can conduct their own search of the copyright office database.
2. T/F One may request that the Copyright Office conduct a search of their records for free.
3. T/F E & O insurance protects the policyholder from claims of bodily injury.
4. T/F Even an original script must be checked for originality.
5. T/F Most North American film distributors don’t require E & O insurance.
6. T/F Titles can be copyrighted.
7. T/F You can register a title with the MPAA.
8. T/F Producers should obtain releases for any identifiable products shown in a film.
9. T/F If you want to use an old film clip in a film, you only need to obtain permission from the copyright owner of the old film.

10.  When considering to buy screen rights, first-  A: check the references of the writer 

B: Make sure that the right stars are available  C: do a copyright search  D: Settle on    the price

11.  E & O Insurance stands for- A: Extras and Overtime  B: Errors and Omissions 

C: Energy and Overland 

12.  T/F Titles are copyrightable

13.  T/F Screenwriters should annotate their scripts to document the source of their work.

Ch. 5- Literary Acquisitions

1. T/F Writers are often granted approvals on any changes to their books that are acquired for film rights. 
2. T/F To protect themselves, buyers often add writers to their E&O policy, even though the writer is liable for plagiarism.
3. T/F Sometimes the entire literary copyright can be bought.
4. T/F A literary acquisition contract gives you all rights to use the work in film, stage, radio, etc.
5. T/F The buyer will insist on unlimited rights to make changes to the work when adapting it.
6. T/F Le droit moral in France can prevent buyers from changing artists’ work without their permission.

MUSB 2355 Study Guide Litwak Ch. 4-5 p. 2

7. T/F Since 1978, authors have a copyright on their works for lifetimes plus 70 years.

BRIEF ESSAY QUESTIONS

CH.4-

1.      What is an E&O insurance policy, and why is this important in a screenplay contract negotiation?

2.      How can titles be protected under the law?

3.      Questions and Answers, pp. 65-66.

4.      What are the 5 primary categories of a clearance of Rights Checklist?

5.      Name 3 or more ways that you can legally protect a title.

6.      Briefly state the 4 legal items that should be in an end of film notice.

CH. 5

1.      How much do options cost in relation to the actual purchase price of the book rights?

2.      What are the major provisions to a Literary Acquisition Agreement?

3.      Questions and Answers, 76-77; 100-101