本作品在美國屬於公有領域，是因為該作品是在1929與1963年之間出版，沒有在該作品增加著作權聲明，且沒有進行著作權更新。除非此作品之作者已經過世一段時間，並達到公有領域所要求的條件，這類美國作品在其他不適用較短期限法則的國家或地區屬於有著作權狀態，如加拿大（作者過世後70年）、中國大陸（作者過世後50年，港澳除外）、德國（作者過世後70年）、墨西哥（作者過世後100年）、瑞士（作者過世後70年）與其他已簽署個別協議的國家。更多資訊請參考Commons:Hirtle chart。 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 standard publicity photo taken circa 1965 (based on comparison to similar film photos). 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, 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 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."[4]