Book contents
- The Cambridge Handbook of Copyright in Street Art and Graffiti
- The Cambridge Handbook of Copyright in Street Art and Graffiti
- Copyright page
- Contents
- Figures
- Contributors
- Foreword
- Foreword
- Introduction
- Part I Creativity in the Street Between Misappropriation and Destruction
- Part II National Legal Analyses
- Section A Americas
- Section B Europe
- 10 Street Art, Graffiti and Copyright: A UK Perspective
- 11 Graffiti, Street Art and Copyright in France
- 12 Street Art, Graffiti and Copyright: A German Perspective
- 13 Copyright in Street Art and Graffiti: An Italian Perspective
- 14 Copyright in Street Art and Graffiti in the Netherlands
- 15 Copyright Protection of Street Art and Graffiti in Greece: Intellectual Property and Personal Property in Conflict?
- Section C Africa, Asia, and Australasia
- Epilogue
11 - Graffiti, Street Art and Copyright in France
from Section B - Europe
Published online by Cambridge University Press: 14 November 2019
By
Edited by
Book contents
- The Cambridge Handbook of Copyright in Street Art and Graffiti
- The Cambridge Handbook of Copyright in Street Art and Graffiti
- Copyright page
- Contents
- Figures
- Contributors
- Foreword
- Foreword
- Introduction
- Part I Creativity in the Street Between Misappropriation and Destruction
- Part II National Legal Analyses
- Section A Americas
- Section B Europe
- 10 Street Art, Graffiti and Copyright: A UK Perspective
- 11 Graffiti, Street Art and Copyright in France
- 12 Street Art, Graffiti and Copyright: A German Perspective
- 13 Copyright in Street Art and Graffiti: An Italian Perspective
- 14 Copyright in Street Art and Graffiti in the Netherlands
- 15 Copyright Protection of Street Art and Graffiti in Greece: Intellectual Property and Personal Property in Conflict?
- Section C Africa, Asia, and Australasia
- Epilogue
Summary
Examples of wall drawing in France stretch far back into history. It has been stated that graffiti may be seen as existing in ancient times as evidenced by the pre-historic cave drawings on the walls at the Lascaux Caves. Yet, it has also been noted that behind sporadic evidence of such works throughout French history ‘these marks are usually isolated and rarely so deeply connected to the socio-political context of the moment.’ In terms of contemporary street art and graffiti, this has perhaps now fundamentally changed during a time in which France has become regarded as ‘perhaps the most prolific bastion of the movement.
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- The Cambridge Handbook of Copyright in Street Art and Graffiti , pp. 175 - 187Publisher: Cambridge University PressPrint publication year: 2019