The Copyright Wars: Three Centuries of Trans-Atlantic Battle
Peter Baldwin
Today's copyright wars can seem unprecedented. Sparked by the digital revolution that has made copyright -- and its violation -- a part of everyday life, fights over intellectual property have pitted creators, Hollywood, and governments against consumers, pirates, Silicon Valley, and open-access advocates. But while the digital generation can be forgiven for thinking the dispute between, for example, the publishing industry and Google is completely new, the copyright wars in fact stretch back three centuries -- and their history is essential to understanding today's battles. Peter Baldwin explains why the copyright wars have always been driven by a fundamental tension. Should copyright assure authors and rights holders lasting claims, much like conventional property rights, as in Continental Europe? Or should copyright be primarily concerned with giving consumers cheap and easy access to a shared culture, as in Britain and America? This book describes how the Continental approach triumphed, dramatically increasing the claims of rights holders.
Award History
0 wins · 1 total
| Award | Year | Result | Category / Notes |
|---|---|---|---|
| PROSE Award for Law and Legal Studies | 2015 | Honorable mention | Official source |
Experimental book profileGenerated by GPT-5.4 nano · may contain inaccuracies
This is an unverified interpretation of the catalog description, offered as an opt-in discovery experiment—not as bibliographic fact.
01 Central figures
None extracted with sufficient confidence.
02 Central places
None extracted with sufficient confidence.
03 Suggested argument
Copyright wars have been driven by a fundamental tension between treating copyright like durable property (Continental approach) versus prioritizing cheap consumer access to shared culture (Britain and America), with the Continental approach prevailing.
Model confidence 72%
04 Reading orientation
60 / 100 academicTrade / academic crossover
An estimate of intended readership and scholarly apparatus—not quality or importance.
Confidence percentages are the model's own estimates. Profile confidence: 77%.