Это произведение находится в общественном достоянии, поскольку оно было опубликовано в США между 1929 и 1977 годами без уведомления об авторских правах. Если автор не умер определённое количество лет назад, то это произведение защищено авторским правом в юрисдикциях, не применяющих правило более короткого срока для произведений из США, например, в Канаде (50 p.m.a.), Континентальном Китае (50 p.m.a., не в Гонконге и Макао), Германии (70 p.m.a.), Мексике (100 p.m.a.), Швейцарии (70 p.m.a.), а также в других странах в соответствии с индивидуальными соглашениями. См. эту страницу для дополнительных пояснений. العربية ∙ беларуская (тарашкевіца) ∙ čeština ∙ Deutsch ∙ Ελληνικά ∙ English ∙ español ∙ français ∙ Bahasa Indonesia ∙ italiano ∙ 日本語 ∙ 한국어 ∙ македонски ∙ Nederlands ∙ português ∙ русский ∙ sicilianu ∙ slovenščina ∙ ไทย ∙ Tiếng Việt ∙ 中文（简体） ∙ 中文（繁體） ∙ +/−

Additional source information: This is a publicity photo taken to promote a film actor. As stated by film production expert Eve Light Honthaner in The Complete Film Production Handbook, Focal Press, 2001, p. 211:

"Publicity photos (star headshots) have traditionally not been copyrighted. Since they are disseminated to the public, they are generally considered public domain, and therefore clearance by the studio that produced them is not necessary."

Nancy Wolff, The Professional Photographer's Legal Handbook, Allworth Communications, 2007, p. 55:

"There is a vast body of photographs, including but not limited to publicity stills, that have no notice as to who may have created them."

Film industry author Gerald Mast, in Film Study and the Copyright Law, 1989, p. 87:

"According to the old copyright act, such production stills were not automatically copyrighted as part of the film and required separate copyrights as photographic stills. The new copyright act similarly excludes the production still from automatic copyright but gives the film's copyright owner a five-year period in which to copyright the stills. Most studios have never bothered to copyright these stills because they were happy to see them pass into the public domain, to be used by as many people in as many publications as possible."

Kristin Thompson, committee chairperson of the for Cinema and Media Studies writes in the conclusion of a 1993 conference with cinema scholars and editors, that they "expressed the opinion that it is not necessary for authors to request permission to reproduce frame enlargements. . . [and] some trade presses that publish educational and scholarly film books also take the position that permission is not necessary for reproducing frame enlargements and publicity photographs." [1]