The article is a review of Dracula, also known as Bram Stoker's Dracula, a 1992 horror/romance film produced and directed by Francis Ford Coppola, by Roger Ebert. This film was based on the actual novel Dracula by Bram Stoker and stars Gary Oldman as Count Dracula. In his three-star review of the film Ebert talks about in depth both the plot and the quality of the film. Although it is mostly a positive review, Ebert reflects on the fact that Coppola “seems more concerned with spectacle and set-pieces than with storytelling.” He additionally states that at times the narrative is confusing and has many dead ends. Nevertheless, he says that he enjoyed the movie simply because the way it looked and felt. At the end of the article, he states that cinematographer Michael Ballhaus and Production designers Dante Ferreti and Thomas Sanders had "outdone themselves.'

        The origin of this film is precisely how Universal's Dracula, and many of its other horror films, came to be. For many of the films during the “Universal Horror” years, their inspiration came from gothic novels, legends and stage plays. Mystery plays, where individuals travel to a house only to be spooked and scared by a supernatural (or not) being is another commonly adapted type of media. The concept presented in these films usually evolve from one telling to the next, refining and reshaping the narrative to suit the needs of the culture it resides in. Films like the Bram Stoker's Dracula are supremely important as they help to reinvigorate old ideas and stories. This director used modern cinematic techniques and effects to excite the audience about an old story they believed they knew well. Just like Universal did with Dracula in 1931, Coppola changes his story slightly to appeal to his contemporary audience. This is a commonplace occurrence within the horror genre and it serves as a method to keep it fresh as time goes on.

     This act is an addition to the United States Copyright Law. The addition is chapter 10 which is "Digital Audio Recording Devices and Media." The act is broken up into four subchapters A, B, C and D.

     Subchapter A gives definitions of terms that are used within the act. The terms are clearly defined so that they can be used within the explaination of the act itself with little confusion. For example, A digital audio copied recording is defined as "a reproduction in a digital recording format of a digital musical recording, whether that reproduction is made directly from another digital musical recording or indirectly from a transmission."

     Subchapter B gets into the main point of the act stating what can and cannot be copied. This section states that it is illegal to import, manufacture, or distribute any digital audio recording device that does not comply with the Serial Copy Management System or any other similar system. The device must also meet the standards set by the Secretary of Commerce. Finally, digital music recordings cannot be encoded with inaccurate information.

     Subchapter C deals with royalty payments. It explains who pays them, how much is payed under certain conditions , and who receives these payments. According to this section, the amount of royalty payment for each recording device is two percent of the transfer price. Also only the first person to manufacture or import and distribute a device is required to pay the royalty. A royalty tax of 8 dollars is required for each digital recording machine. The royalty tax is paid by the manufacturers of the digital media devices and then distributed to copyright owners whose music is being copied. Because of this tax, copyright owners cannot claim copyright infringement against the use of audio recording devices in the home.

     Subchapter D explains the arbitration for violations regarding the terms set up in the previous sections.

     This act gave guidance to the music industry but it did not include computers because they are not considered digital audio recording devices. This poses a problem because of the explosion of the internet which occured in subsequent years.