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پەڕگە:Owen Roizman making The Exorcist in the streets of Georgetown (cropped).jpg

Owen_Roizman_making_The_Exorcist_in_the_streets_of_Georgetown_(cropped).jpg (١١١ × ١٢٦ پیکسڵ، قەبارەی پەڕگە: ٣٨ کیلۆبایت، جۆری ئێم ئای ئێم ئی: image/jpeg)

ئەم پەڕگە لە Wikimedia Commonsەوەیە و لەوانەیە لە پڕۆژەکانی دیکەش بەکار ھاتبێت. پێناسەکەی لەسەر پەڕەی وەسفی پەڕگەکە لە خوارەوە نیشان دراوە.

The gentleman standing in the right of the photograph with the mustache is a Cinematographer named, Tommy PRIESTLY. He was the First Assistant Cameraman (focus puller)at the time, but he went on to become a Director Of Photography. The gentleman with his eye behind the camera, wearing the eyepatch up over his head is Ricky Bravo. He was the official camera operator on the exorcist.

کورتە

وەسف Director William Friedkin (left), cinematographer Owen Roizman and producer William Peter Blatty preparing to shoot a scene from The Exorcist (based on Blatty's novel) at an intersection on O Street in the Washington, D.C., neighborhood of Georgetown, during 1973
ڕێکەوت
سەرچاوە [1] Appears to be a publicity still released with the film's press material
بەرھەمھێنەر Warner Bros.
ڕێپێدان
(بەکارھێنانەوەی ئەم پەڕگەیە)
English: This is a publicity still taken and publicly distributed to promote the subject or a work relating to the subject.
  • As stated by film production expert Eve Light Honathaner in The Complete Film Production Handbook (Focal Press, 2001, p. 211.):
    "Publicity photos (star headshots) have traditionally not been copyrighted. Since they are disseminated to the public, they are generally considered public domain, and therefore clearance by the studio that produced them is not necessary."
  • Nancy Wolff, in The Professional Photographer's Legal Handbook (Allworth Communications, 2007, p. 55.), notes:
    "There is a vast body of photographs, including but not limited to publicity stills, that have no notice as to who may have created them."
  • Film industry author Gerald Mast, in Film Study and the Copyright Law (1989, p. 87), writes:
    "According to the old copyright act, such production stills were not automatically copyrighted as part of the film and required separate copyrights as photographic stills. The new copyright act similarly excludes the production still from automatic copyright but gives the film's copyright owner a five-year period in which to copyright the stills. Most studios have never bothered to copyright these stills because they were happy to see them pass into the public domain, to be used by as many people in as many publications as possible."
  • Kristin Thompson, committee chairperson of the Society for Cinema and Media Studies writes in the conclusion of a 1993 conference of cinema scholars and editors[2], that:
    "[The conference] expressed the opinion that it is not necessary for authors to request permission to reproduce frame enlargements... [and] some trade presses that publish educational and scholarly film books also take the position that permission is not necessary for reproducing frame enlargements and publicity photographs."
This work is in the public domain in the United States because it was published in the United States between 1929 and 1977, inclusive, without a copyright notice. For further explanation, see Commons:Hirtle chart as well as a detailed definition of "publication" for public art.
Note that it may still be copyrighted in jurisdictions that do not apply the rule of the shorter term for US works (depending on the date of the author's death), such as Canada (50 p.m.a.), Mainland China (50 p.m.a., not Hong Kong or Macao), Germany (70 p.m.a.), Mexico (100 p.m.a.), Switzerland (70 p.m.a.), and other countries with individual treaties.

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