|Cinemension Contact and Submissions
If you want to contact Dan Schneider, Jessica Schneider, or any of the other Cinemension contributors about the site, the content, or anything else, drop a line to cinemension - at- gmail- dot- com. All emails with attachments will be deleted unread, and any threats- personal or legal- will immediately be reported to the authorities. All contacts, emails, and submissions become the intellectual property of Cinemension, which is free to do with them as it sees fit. So do all harassments, pointless rants, and curses, which may become the subject of mockery and/or satire via Cosmoetica's email list, can be posted online at any time, and will be reported to the authorities if of a threatening nature. Emails, by their nature, carry no expectation of privacy, and Cosmoetica will not allow people to hide their stupidity, nastiness, nor bigotry behind such. In short, if you are not willing to stand behind a statement that may be forever online, don't send it here. Due to the high volume of traffic and emails Cinemension receives it is not always possible to reply to every email and/or submission, but we will try to reply as soon as possible to all genuine and reasonable emails, save those deleted (for reasons above) and of a harassing nature. Posted works on Cinemension represent the opinions and copyright, solely of the attributed writers, and not necessarily those of Cinemension, although the intellectual property rights may belong to Cinemension, as well as the writers. All spam and promotional emails received are sent information on Cosmoetica and Cinemension. Ask and you will be removed from further emailings, provided you remove Cosmoetica from your emailing lists.
Cinemension will accept essay submissions on any and every topic, if the writing is of the highest quality, about film, and they are written in English. Vivacity and humor are always welcome. Cinemension will sooner post a well-written piece it disagrees vehemently with than a schlockily written piece it agrees with. There are no limits on the length of the essays, although book length pieces are likely too long. Please send all submissions in the body of an email to cinemension - at- gmail- dot- com. If your essay is accepted, but there are formatting problems, you will be contacted to resend the piece in a standard word processing format (.doc, .txt, etc.). Cinemension is loath to accept images, for this site is dedicated to the written word, thus its demonstrable lack of 'bells and whistles'. Cinemension cannot pay for contributions.
Accepted essays will be indexed and archived aphabetically, by director, and by genre, as well as appear on Cosmoetica as Bylines essays. They will be accepted or rejected in toto, appear unedited, and with date of first posting. Multiple and simultaneous submissions are fine. Many Cinemension works have appeared elsewhere first, or in venues after their debut in Cinemension. Authors, upon republication of a piece originally posted on Cosmoetica or Cenemension, are simply asked to credit Cosmoetica or Cinemension as the place the essay first appeared. Posted essays are copyrighted by the essayist. However, Cinemension reserves the right to reprint in full, or excerpt parts of, the essay at any time. All posted essays represent the opinions of the essayist alone, not necessarily those of Cinemension; although Dan Schneider may add replies, rebuttals, or comments about the essays afterward. Cinemension seeks to raise the discourse about film and its criticism past the lowest common denominator tide represented by most online critics who follow the Roger Ebert thumbs up/down paradigm, as well as move beyond the manifestly masturbatory film school psychobabble sort of essay which fetishizes one or two aspects of a film to declare it great, even as all other aspects suffer. These sorts of critiques may work for students looking for Cliffs Notes to cheat on their finals, but they make for poor criticism and reviews.
US Copyright Code Sec. 107. - Limitations on exclusive rights: Fair use
Notwithstanding the provisions of sections 106 and 106A, the fair use of a copyrighted work, including such use by reproduction in copies or phonorecords or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright. In determining whether the use made of a work in any particular case is a fair use the factors to be considered shall include:
(1) the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes;
(2) the nature of the copyrighted work;
(3) the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and
(4) the effect of the use upon the potential market for or value of the copyrighted work.
The fact that a work is unpublished shall not itself bar a finding of fair use if such finding is made upon consideration of all the above factors.
***This section of the code protects satire, criticism, & alot of other opinings! DAN
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