この著作物は、1929年から1963年の間にアメリカ合衆国で公表されましたが、著作権表示の有無に拘らず、著作権が延長されなかったため、アメリカ合衆国においてパブリックドメインの状態にあります。詳しくはCommons:ハートルのチャート及び著作権延長履歴をご覧ください。著作者の死亡した日によっては、アメリカ合衆国の著作物に対して相互主義を採用していないカナダ（著作者の死後70年）や中国本土（著作者の死後50年・香港及びマカオには非適用）、ドイツ（著作者の死後70年）、メキシコ（著作者の死後100年）、スイス（著作者の死後70年）その他個々の条約を採用している国々といった法域において依然として著作権で保護されている可能性がありますので、ご注意ください。 العربية ∙ Deutsch ∙ English ∙ español ∙ français ∙ galego ∙ italiano ∙ 日本語 ∙ 한국어 ∙ македонски ∙ português ∙ português do Brasil ∙ русский ∙ sicilianu ∙ slovenščina ∙ українська ∙ 简体中文 ∙ 繁體中文 ∙ +/−

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 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, includes a similar explanation:

"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." (The Professional Photographer's Legal Handbook By Nancy E. Wolff, Allworth Communications, 2007, p. 55.)

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

"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 Society for Cinema and Media Studies アーカイブされたコピー at the Wayback Machine 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] アーカイブされたコピー at the Wayback Machine