(7) In a phantom writing that has written an autobiography of an All Black (z.B.) in which the ghost author may have made arrangements to make sound recordings and apply oral history techniques, there are undoubtedly contractual provisions regarding the benefits he has obtained. They can count on the fact that the ghost writer is commissioned by a publishing house. Without these arrangements, the ghost writer would be the „author” of the autobiography. A Commission amends copyright ownership: Copyright Act 1994. Given these conditions and our established, spoken and unspoken principles, the NOHANZ agreement did not seem appropriate, so those who had primary responsibility for the entire project, Bridie and I then took responsibility for the crossing of our common history and established formal protocols expressing an appropriate ethics for Getting Free, despite some fears of jeopardizing Juanita`s autonomy and complicating the processes within her project. Vermont Folklife Centre: Field Research Guides. [These include recorders, digital editing and conservation.] www.vermontfolklifecenter.org/archive/archive-fieldguides.html oral history is a method of gathering information. It is the audio or video recording of an interview with someone who, from his or her own experience, talks about a subject of historical interest. The main reason we rejected the NOHANZ agreement was that it was based on an interpretation of the copyright law provision that gave the person who „arranged” it the ownership of an interview. The law states that the author of a work is the person who creates it and „in the case of a sound recording or a film, the person who makes the necessary arrangements for the recording or film” (6). The principles we articulated our decisions on overlapping with some of those behind the New Zealand film archives Mana Tuturu document, as by Barry Barclay in his eponymous book (Barclay 2005), but were developed independently, from another reality. In particular, they support Barclay`s view that the history of every human being is a treasure now and for the future; What he calls the „guardianship” of this story requires a kind of tenderness in recording, storage, access and use.

This tenderness may inevitably be at odds with commercial or academic exploitation; it requires oral historians to recognize the collaborative nature of the work created, to negotiate carefully with collaborators, and to be flexible on agreements and outcomes. The use of the interviewee for publication purposes can be prohibitively costly. For example, Galvan Macnamara has been interviewed several times by TVNZ. One of these interviews showed it in the 1980s how a master potter had vitrification effects. The interview was a great example of Galvan`s understanding and competence. We wanted to use it for his film. He wanted to include it in his film.

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