This video is fair use under U.S. copyright law because it is (1) noncommercial, (2) trasformative in nature, (3) does not compete with the original work and could have no negative effect on its market.

This video is fair use under U.S. copyright law because it is (1) noncommercial, (2) trasformative in nature, (3) does not compete with the original work and could have no negative effect on its market.

This video is fair use under U.S. copyright law because it is (1) noncommercial, (2) trasformative in nature, (3) does not compete with the original work and could have no negative effect on its market.

This video is fair use under U.S. copyright law because it is (1) noncommercial, (2) trasformative in nature, (3) does not compete with the original work and could have no negative effect on its market.

autoproduzione audio/video music : basso elettrico + Renoise video : VSE Blender Quest' opera è distribuita con licenza Creative Commons Attribuzione - Non commerciale - Condautoproduzione audio/video music : basso elettrico + Renoise video : VSE Blender Quest' opera è distribuita con licenza Creative Commons Attribuzione - Non commerciale - Condividi allo stesso modo 3.0 This video is fair use under U.S. copyright law because it is (1) noncommercial, (2) trasformative in nature, (3) does not compete with the original work and could have no negative effect on its market.ividi allo stesso modo 3.0 This video is fair use under U.S. copyright law because it is (1) noncommercial, (2) trasformative in nature, (3) does not compete with the original work and could have no negative effect on its market.

This video is fair use under U.S. copyright law because it is (1) noncommercial, (2) trasformative in nature, (3) does not compete with the original work and could have no negative effect on its market.

In 1927, Harman and Ising were still working for the Walt Disney Studios on a series of live-action/animated short subjects known as the Alice Comedies. The two animators created Bosko in 1927 to capitalize on the new "talkie" craze that was sweeping the motion picture industry. They began thinking about making a sound cartoon with Bosko in 1927, before even leaving Walt Disney. Hugh Harman made drawings of the new character and registered it with the copyright office on 3 January 1928. The character was registered as a "Negro boy" under the name of Bosko

In 1927, Harman and Ising were still working for the Walt Disney Studios on a series of live-action/animated short subjects known as the Alice Comedies. The two animators created Bosko in 1927 to capitalize on the new "talkie" craze that was sweeping the motion picture industry. They began thinking about making a sound cartoon with Bosko in 1927, before even leaving Walt Disney. Hugh Harman made drawings of the new character and registered it with the copyright office on 3 January 1928. The character was registered as a "Negro boy" under the name of Bosko

In 1927, Harman and Ising were still working for the Walt Disney Studios on a series of live-action/animated short subjects known as the Alice Comedies. The two animators created Bosko in 1927 to capitalize on the new "talkie" craze that was sweeping the motion picture industry. They began thinking about making a sound cartoon with Bosko in 1927, before even leaving Walt Disney. Hugh Harman made drawings of the new character and registered it with the copyright office on 3 January 1928. The character was registered as a "Negro boy" under the name of Bosko

In 1927, Harman and Ising were still working for the Walt Disney Studios on a series of live-action/animated short subjects known as the Alice Comedies. The two animators created Bosko in 1927 to capitalize on the new "talkie" craze that was sweeping the motion picture industry. They began thinking about making a sound cartoon with Bosko in 1927, before even leaving Walt Disney. Hugh Harman made drawings of the new character and registered it with the copyright office on 3 January 1928. The character was registered as a "Negro boy" under the name of Bosko