[ SECRET POST #2715 ]

[case]

⌈ Secret Post #2715 ⌋

Warning: Some secrets are NOT worksafe and may contain SPOILERS.

01.


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02.
[Tales of Innocence]


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03.
[Transamerica]


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04.
[Final Fantasy VIII]


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05.
[Interview with the Vampire]


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06.
[Andrew Lloyd Webber]


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07.
[Critical Miss]


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08.
[Great British Menu/Emily Watkins]


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09.
[Mike Malinin, Goo Goo Dolls]


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10.
[Pacific Rim]


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11.
[Star Trek TNG]


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12.
[Homestuck]


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13.
[The Man From Nowhere]













Notes:

Secrets Left to Post: 03 pages, 058 secrets from Secret Submission Post #388.
Secrets Not Posted: [ 0 - broken links ], [ 0 - not!secrets ], [ 0 - not!fandom ], [ 0 - too big ], [ 0 - repeat ].
Current Secret Submissions Post: here.
Suggestions, comments, and concerns should go here.

Comments

[(Anonymous)]

Are ALL of Puccini's works in the public domain? Because Puccini's estate filed a lawsuit against Webber and Webber settled out of court. Don't think they would've been able to do that if the particular Puccini opera Webber was accused of plagiarising had been in the public domain.

And no, I don't object to Looney Tunes. They actually did use music in the public domain and did so deliberately because it was cheaper. Do you actually have a citation for the fact that they didn't credit the composers?

[(Anonymous)]

Also, Looney Tunes didn't file off the serial numbers and pretend that it was their own, original music.

[(Anonymous)]

Exactly.

[(Anonymous)]

The opera in question, La Fanciulla del West, is public domain in the U.S. and not public domain in the EU/Italy. Rather tricky legal territory.

And yeah, I see what you mean, there's a difference between lifting classical music because it's cheap and you want fitting, incidental music for your cartoon, and making your living as a musical theatre composer and lifting bars off of other composers (some of whom were still living), when that's, like, what people are paying you for.

But yes, in Looney Tunes, the original composers really are uncredited. I don't have citations, but I watched several of the cartoons that make use of classical music recently and looked carefully at their credits, and they ONLY credit the in-house composer (e.g. Carl Stalling). Also, the pieces used are never credited by name (by putting something like, "Featuring melodies from Dance of the Comedians"), which definitely has the effect of hiding the original work.