{"id":231,"date":"2017-04-29T10:24:58","date_gmt":"2017-04-29T10:24:58","guid":{"rendered":"http:\/\/www.criticalremix.com\/home\/?p=231"},"modified":"2017-04-29T10:24:58","modified_gmt":"2017-04-29T10:24:58","slug":"youtube-movie-parodies-causing-controversy-in-taiwan","status":"publish","type":"post","link":"https:\/\/www.criticalremix.com\/home\/2017\/04\/29\/youtube-movie-parodies-causing-controversy-in-taiwan\/","title":{"rendered":"YouTube Movie Parodies Causing Controversy in Taiwan"},"content":{"rendered":"<p>A Taiwanese YouTuber, Chung Wei-Ding (a.k.a AmoGood), is facing charges of copyright infringement from local Taiwan-based production companies who claim that his sampling of their films in his parody review videos violates their copyright. AmoGood has almost a million subscribers on YouTube and he also reviews Hollywood blockbusters in a similar vein to Screen Junkie&#8217;s Honest Trailers. He is claiming fair use, but apparently local copyright law under which he is governed in Taiwan, does not have a provision for fair use in the same way as U.S. copyright law does. If AmoGood is on the losing end of this legal battle, it could\u00a0set a more restrictive precedent for anyone wishing to sample and remix copyrighted material into transformative works in East Asia. Will be watching the outcome of this case with interest.<\/p>\n<p>[Source: <a href=\"http:\/\/mashable.com\/2017\/04\/28\/taiwanese-youtuber-amogood\/#B4Qlh04Nz5qP\">http:\/\/mashable.com\/2017\/04\/28\/taiwanese-youtuber-amogood\/#B4Qlh04Nz5qP<\/a> ]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>A Taiwanese YouTuber, Chung Wei-Ding (a.k.a AmoGood), is facing charges of copyright infringement from local Taiwan-based production companies who claim that his sampling of their films in his parody review videos violates their copyright. AmoGood has almost a million subscribers &hellip; <a href=\"https:\/\/www.criticalremix.com\/home\/2017\/04\/29\/youtube-movie-parodies-causing-controversy-in-taiwan\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[135],"tags":[],"class_list":["post-231","post","type-post","status-publish","format-standard","hentry","category-copyright"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/www.criticalremix.com\/home\/wp-json\/wp\/v2\/posts\/231","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.criticalremix.com\/home\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.criticalremix.com\/home\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.criticalremix.com\/home\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.criticalremix.com\/home\/wp-json\/wp\/v2\/comments?post=231"}],"version-history":[{"count":1,"href":"https:\/\/www.criticalremix.com\/home\/wp-json\/wp\/v2\/posts\/231\/revisions"}],"predecessor-version":[{"id":232,"href":"https:\/\/www.criticalremix.com\/home\/wp-json\/wp\/v2\/posts\/231\/revisions\/232"}],"wp:attachment":[{"href":"https:\/\/www.criticalremix.com\/home\/wp-json\/wp\/v2\/media?parent=231"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.criticalremix.com\/home\/wp-json\/wp\/v2\/categories?post=231"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.criticalremix.com\/home\/wp-json\/wp\/v2\/tags?post=231"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}